and, paid labour under the age of 21 should be banned by federal law.

that's not just about child labour (and expanding the definition of a child to conform to contemporary definitions), it's also about ensuing that children aren't competing with adults for scarce jobs, and thereby driving the cost of labour down.

i'm an advocate of what i call anarchist schooling, which eliminates the classroom/grade system and allows students to work their way through the curriculum at their own pace, without the need to conform to the speed of a group. some kids will get through elementary school in six months; others will take 15 years. i'd still put teachers in classrooms and send kids to school, but the schools would be open 24/7 and the parents would decide when to send them based on their own schedules.

that aside, if we're to force people to conform to set one-size-fits-all schedules and ram kids into grade levels (and then push them through...), the school day ought to run longer, from 8:30 am to 17:30 pm, thereby eliminating or minimizing the need for parents to pay for after-school childcare.

like, that should be an aim, not a drawback.

https://toronto.ctvnews.ca/ontario-school-board-s-new-4-p-m-bell-time-sparks-outrage-1.5469721

when people talk about a "free press", that doesn't mean the freedom of the government to post memos and ensure they're not criticized in public (and then speciously accuse anybody criticizing them of being misogynists and/or racists).

what 'freedom of the press" means is the ability of citizens to criticize media and government in independent publications - which is the thing they're trying to shut down.

we live in the era of orwell, where everything means the opposite of what is intended - where marxists oppose political rights theory, and freedom of the press means you can't comment on articles in public. it's just yet another example of it. and they're everywhere - it's ubiquitous. and, like orwell suggested, you both see it in front of you and don't understand it, and yet do.

but, the trick was that they owned the platform, right?

real freedom of the press is less tied into commenting systems where they own the space and more means that a blog like this (which is still on the google servers...) can't get shut down, or at least not via government dictate. 

it's something to take note of, and it restricts the spirit of press freedom, but it's not a technical rights violation and we need to stand by and take note of it rather than react directly.

but, don't let them shut you down - start a blog like i have, instead. follow my lead, here...

what we're seeing in old media - and this has been building for a while - is this realization that government is no longer effective at controlling people, because there's too many alternative voices out there. the commenting system was probably intended as an echo chamber, but it's instead created an ability to hijack the propaganda and present an alternate messaging system instead - it's become a platform for culture jamming, and the government doesn't like that, for obvious reasons.

so, what the government is doing (and the government runs the cbc. it's state media.) in removing the comments is trying to better control the message by removing distractions - they don't want people analyzing the articles, they want you to shut up and be brainwashed.

and, they can rightly fuck right the fuck off - that's a reason to yell even louder, to drown out the propaganda being spouted by the journalists, and strive that much more to deconstruct the statist messaging.

i used to post at the cbc all of the time, until they started moderating out any kind of critical analysis. if the claim is that the comments on social media reflect a poor discourse, i'm going to flip this over on it's head - rather, it's the overbearing censorship by "journalists" and "editors" at places like the cbc that are stifling the discourse, and eliminating any kind of critical voices. this idea that blacks and women are under attack is just a transparent, bullshit excuse.

the heavy-handed, right-wing censorship at institutions like the cbc is a big part of the reason why i set this site up, instead - by restricting the spectrum to a small number of concerns that are of interest to conservative readers (and the "center-left", which is just another term for "conservative"), they're completely butchering the discourse.

so, in a sense my response is "good riddance", because it will force people away from the comment section and towards sites like this, that are not nearly as censored.

and, i will continue to post analyses of cbc articles in this space; if they don't like it, they can

1. fuck off.

2. cry in the corner and

3. promptly kill themselves, immediately.

https://www.cbc.ca/news/world/editor-blog-facebook-comments-1.6064804

today's post is inri071.

======

i've taken to splitting my discography into phases, and my hitch-hiking trip to british columbia is a very important separation point - both in terms of the nature of the material that came out afterwards and what is now a substantial body of work that came before it. that makes it a natural point to look backwards and build compilations of intersecting ideas. 

a characteristic of my work is that it does not conform well to genre norms. this is not an accident; when compiling a record, i'm guided more by the late beatles' philosophy of vast diversity in a small space than i am by any kind of desire to collect together nice singles, or by some kind of compulsive organizing into categories or concepts. i write psychedelic music. that means something different in 2015 than it did in 1966, but the commonality is that it's necessarily challenging. i want all of my records to do everything at once, and accomplish everything by their end point. that makes compilations of this sort inherently difficult, because every song touches on every compilation idea at the same time. the jazz record would have the same tracklisting as the punk record, the classical record and the folk record - and none would really be what they're claimed to be. 

the one exception to this conundrum is how i interacted with ambient music in this period. i very regularly utilized ideas from the genre, but i tended to interpret ambience as something that is necessarily obscure. in this period, ambient pieces are almost always outtakes or b sides. i tended to interpret covers and remixes as ambient pieces, probably because that was unexpected. when ambient ideas make it on to the record, they're almost always for effect: introductions, endings, connecting passages, that sort of thing. 

when i began reconstructing my discography in early 2014, i came across a handful of songs i'd written out into midi format and put aside for later. a number of these ended up reworked into ambient pieces, and released as b sides. i also ended up converting some of the material i wrote in this period into ambient sound collages that are more in the style of music i created after 2003. 

the end result is enough bsides and remixes to put together two full cds of ambient music. none of the tracks on volumes one or two are on any official record as they appear here; this is technically a collection of remixes and outtakes. 

this package was initially released with a mix tape of fragments from 1996-1999, but it has since been moved into it's own release (inri035): jasonparent.bandcamp.com/album/ambient-works-vol-0 

initially written and recorded between 2000-2003 and remixed between 2014-2015. sequenced over mid may, 2015. the final compilation date was initially may 20, 2015, but both discs were mildly updated with some more appropriate mixes of the same tracks on nov 29, 2017; disc subsequently finalized as lp020. 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 (2014, 2015, 2017). 

released april 30, 2003 

j - guitars (acoustic, electric, nylon), effects & treatments, bass, synthesizers, electric air reed organ, orchestral & other sequencing, drum & other programming, generative programming (sounder), "projectile synthesis" (audiomulch), granular synthesis (granulab), sound design, electronic and conventional drum kits, sampling, loops, films, voice, digital wave editing, composition, production. 

sean - vocal ideas (tracks 4 & 7, disc 1), ring modulator (track 9, disc 1) 

jon - background guitar performance (track 4, disc 1) 

greg - drum performance sample source (track 5, disc 1) 

the various rendered electronic orchestras include synth bass, electric bass, acoustic bass, electric guitar, acoustic guitar, nylon guitar, guitar effects, guitar noises (fret noises, pick scrapes, knocks), synthesizer, synth pads, mellotron, choir, violin, viola, cello, contrabass, string section, pizzicato strings, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, clarinet, flute, piccolo, mallet, piano, woodblock, music box, xylophone, tubular bells, other bells, orchestra hit, electronic drum kit, melodic toms, drum machine and orchestral drum kit.

what actually happened was that i started doing the lost symphony and got lost in the intro.

so, the intro in that demo ended up over a half hour long when i worked it out, meaning the actual song got lost in the process...

in that sense, the lost symphony is sort of "xenophanes part two", but t's more like xenophanes is the introduction to the lost symphony.

some time in 2004 or so i mentioned to sean that the trivial group will either end up being the most ridiculous, epic thing ever recorded.....or the most pretentious flop ever imagined. you can tell me what you think of it.

this version is dated to 2007, i think.

inri078 initial demo upload

today's period 3.1 run through post is for inri078, which is the lost symphony and will complete the trivial group 2xlp when it completes over the next few weeks. 

i have many demos of this track to sort through, and most of them will end up on this single, which will be like the other singles in being comprehensive. but, because this is the lost symphony and not an incomplete composition, these will actually be multiple demo versions, and i'm going to want to find a way to pull them together, as well.

for right now, i'm just posting a link to the demo from 2007 that has been up there for a while and will *not* form a literal basis for the version i'm about to start one last time from scratch. however, it's the most complete version...

this will sequence after xenophanes to close the 2xlp, but it is dated to late 2003 (whereas xenophanes only completes in mid 2006). 

jasonparent.bandcamp.com/album/the-lost-symphony

i'm a good chunk of the ways done what i was doing.

there's a lot of data....

https://jessicamurrayreleasestimeline.blogspot.com/

so, i'm going to create a separate blog just as a timeline for release dates.

this will replace the facebook page, which will be shut down relatively soon.