Blogs Archive

Street Jazz

I was walking down the street and stumbled on this jazz group playing on the sidewalk.

Pumpkin Carving with thatwasthen 2010

Keeping in the holiday tradition, thatwasthen decided to get together once again with some close friends to carve up a few festive decorations.

My Mistake

Sure, I’ve done regrettable things in my life. I’ve chosen the wrong path. I’ve tasted the wrong ice cream flavor. Trusted the wrong person.

I know I’ve also done things in my life I will never cease to be proud of. The kind of impromptu, spur-of-the-moment, caution-to-the-wind thing, and it’s never blown up in my face.

My point is that I’m tired of torturing myself for the things I haven’t or did do, and the repercussions ensuing. I am a confident, brash, focused individual who realizes the error of his ways. THEN I beat myself up over them. Then I question them, examine them and grow from them. Isn’t that what we’re supposed to do?

I remember describing myself in an earlier post about Benny Dacks during Christmas where I mentioned how much I love dwelling on the horror and shock of misfortune instead of being a problem solver. How my initial reaction to a difficult situation was to lament that moment and spend useless energy recruiting others to justify my stance. But I began to realize that the energy spent spreading hate and negativity costs twice as much than to ignore the feelings of disgust and malice and choose to focus on the positive things.

This is how I will learn. This is how I will grow. And as I push further into the deep, dark woods of my being, and the beautiful pain and divine torment of life and all it is to know and be in this wicked world, I will know I can always turn around and say, “thatwasthen”.

Change is inevitable, growth is a choice.

Uncle’s Studio Sessions

The band has been hard at work producing our new album. Here are a few clips from the vocal overdub session from last week. More videos coming soon!

Benny’s New Bass 1978 Kramer 250B

Benny Dacks Bass - Kramer 250B 1978

The New Bass 1978 Kramer 250B

I’ve recently purchased a new bass. I found a rare 1978 Kramer 250B at Baxter Northrup Music in Sherman Oaks, CA. The price and sound were too good to pass up. This has to be one of the heaviest instruments I have ever played. The sound is somewhere between a Fender American P-Bass and a Rickenbacker. I’m pretty sure  one could throw this bass down a set of stairs, use it to slay a legion of zombies, and it would still be in tune.



From Wikipedia:

Introduced in 1976, early models featured the trademark “tuning fork head” aluminum-reinforced necks with a fretboard made of Ebonol–material similar to one used in bowling ball production. Other features of the necks included aluminum dots, and a zero fret made out of Petillo fretwire. Unlike Travis Bean, Kramer went beyond the idea of a neck forged entirely out of aluminum, due to both its weight and its feel. Instead, Kramer opted for wooden inserts in the aluminum necks. The inserts, set in epoxy, were usually Walnut or Maple. The bodies were usually made of high grade Walnut or Maple, with the earliest instruments made of exotic tonewoods including Koa, Afromosia, Swietenia, Shedua, and Bubinga. The hardware was top-notch as well: Schaller tuning keys and bridges; Schaller and DiMarzio pickups; custom-made strap pins; aluminum cavity covers. Kramer’s “alumi-neck” line lasted roughly until 1982.

Google and Topeka switch names

In an epic plot to grant fiber optic Internet to Kansas residents, Google has switched names with Topeka.

If you haven’t been to google.com recently, you will notice that it has been renamed. The search engine giant claims that this is part of an epic scheme to deploy installations of super fast fiber-optic Internet to random locations around the US.

The internet connections in Google, Kansas will be 1gb per second. This is over 100 times faster than any residential connection available.

Don’t be fooled. Even Google recognizes that all roads lead to Kansas, not just yellow brick ones.” – Google Mayor Bill Bunten

Sources:

april fools =)

Top 40 Charts Explained

As I was surfing the series of tubes we know as the internets, I came upon this amazing article from The Times entitled:

Teenagers’ Music Taste is Determined by Their Desire To Conform

In it, reporter Murad Ahmed discusses research conducted on kids 12 to 17. After being played a song, they were asked to review it. Later, when the children were about to hear the track for the second time, the researchers primed them for the second review with a chart that revealed how many times the song had been downloaded.

The second time the teens heard this hit, nearly three quarters of them rated it more positively. Brain scans revealed that the type of neural activity associated with fear and peer pressure showed up when the listeners were hearing a song they were told was popular.

"Not only does this pirate drink make us cooler, it makes listening to Kei$ha so much easier! Now we'll never feel awkward when we're the only ones not shouting the nasty bits at the 8th grade dance!"

"Not only does this pirate drink make us cooler, it makes listening to Kei$ha so much easier! Now we'll never feel awkward when we're the only ones not shouting the nasty bits at the 8th grade dance!"

While The Times article goes on to talk about how this opinion shift is motivated by social fear, personally, as a professional musician, I want to focus more on the implications it has in the music industry.

Bahahah, sorry I couldn’t say that with a straight face. What I meant to say is the implications this issue has in the REAL world… because it’s clear to me that The Music Industry is a lumbering, dying beast. At least as long as it sticks to bullying litigation and old, outdated models of business.

Anyway, as I was saying, in the real music scene today what this fear of nonconformity equates to is half-baked artists garnering much more popularity than they deserve based purely upon their talent or songwriting (for those who even write them).

Allow me to explain. The main thrust of this article is that peer pressure and fear are two deciding factors in a teenagers’ music preferences, and since they are the record industry’s target audience, they determine the bogus stuff that plays on the Top 40 Charts. Crappy, dispassionate and poorly written music will dominate the charts, because in an effort to conform, impressionable young people mistake its vulgarity and gimmicky mimicry for quality.

Enough gullible kids jump on the band wagon, and suddenly something is worthy of listening to, even—-gasp!—-of purchasing. But you know what? The rest of us (those who are no longer minors, however recently) have power, too. If we all decide to band together and really support music that is worth supporting, suddenly it is we who determine what is remembered and what isn’t.

Lets make like a oppressive dictatorship and rewrite our own history, eh?

-NP

Source: Teenagers’ Music Taste is Determined by Their Desire To Conform

Some musings on Macho

Dennis Leary once mused on MACHO. He’s the badass Bostonian comic who you’d recognize in a heartbeat from the thousands of projects he’s worked on, including RESCUE ME on FX. I thought, at this point in my self-reflective life, that this was appropriate AND hilarious. Comedy heals. Ask Dennis…

Hard as stone.

Hard as stone.

Here’s a cold hard fact that you must now chew and swallow: if you are reading this, you are not macho. Period. Case closed. Real men do not read anything other than GUNS AND AMMO, SPORTS ILLUSTRATED, or MAXIM MAGAZINE. Understanding macho means that you don’t possess it. I have proven myself to be the pussy that I am by writing this piece. (I’m wearing a powder blue cotton print shirt and peach panties as I type). So who’s macho? Ernest Hemingway, you say? Wrong. Ernest lived a very macho life and wrote some very macho stories, but Ernest threw it all away by blowing his head off with a shotgun. Very unmacho. Real men do not commit suicide. Real men know just how much life sucks. Real men grit their teeth and take it bill after bill, war after war, tumor after tumor. You don’t greet Death, you punch him in the throat repeatedly as he drags you away. I think John Wayne said it best when he said, “Fuck Death and the lung cancer he rode in on.” Macho is a very slippery thing. You don’t read about it, you don’t write about it, you don’t even know the correct spelling of the word. In a vain attempt to keep some semblance of masculinity, I didn’t research the roots of the word while writing this article, but I can only assume that “macho” comes from “machismo,” which sounds a hell of a lot like machine. Being macho implies a tough, hard, block-like approach full of pistons and rods and axles and other big steel-type stuff.

It’s hard to live by the old macho code these days. They’ve chipped away at it over the years, slowly but surely. Drinking has been reduced to a few beers or a couple of whiskeys, if that. Otherwise, your AA friends begin to stare across the table with that “I personally think you have a problem and that all alcohol should be banned so that I won’t feel the urge to drink myself into a naked stupor but I’m not gonna say anything” look on their faces. No mess, no mauling, no mistress, no more. From time to time, people try to use macho as an image builder. Bush tries to make himself seem like a card-carrying Mace Club member. He’s not. The last macho president we had was FDR. FDR: A man stricken by polio, stuck in a wheelchair, fighting the Nazis all the while smoking 3 & 1/2 packs a day. “The only thing we have to fear is fear itself!” Yeah, and staircases.

I think the death of macho is easily located on a recent timeline. Sometime in the late ’70s, right around the time the Village People released “Macho Man” and Barry Manilow sang “Copacabana”, men made a serious mistake: we started TALKING to each other. We stopped punching each other and began discussing why we wanted to punch each other. I’ll bet my RIGHT NUT that if I had done some research, I would have found a dramatic decline in facial cuts and brain contusions starting in 1977. Now we’re supposed to be sensitive. We are supposed to share our feelings and cry at funerals and care about our hair. We are, in short, supposed to be women.

Is that a leather jacket!? MACHO!

Is that a leather jacket!? MACHO!

Now I believe in equal rights. I believe that women should get equal pay for equal jobs. I believe women should have control of their bodies and be in positions of power. I believe we should have the same size shoulder pads in our suits. But I also believe that men should be men and women should be women. Women should be soft and smart and mysterious. And men should have their own tools. I pine for the sheer stupidity of the old macho days, when men would brandish hammers and build huge, bulky cars that sucked up gas and tore open the ozone layer and crushed small animals beneath totally useless but totally cool-looking tail fins. When men were apes with good shoes and a dental plan. John Wayne, John Huston, Bill Holden, Bob Mitchum, Clark Gable, Babe Ruth, Lee Marvin, Sam Peckinpah. Men who drank and fought and puked and ate raw meat right off the bone and drank some more and fought some more and puked again and kept on drinking. Men who died of MASSIVE heart attacks or sudden brain seizures or who just plain fucking blew up. Men who had cancer six or seven times! Men made out of leather. My grandfather was one of these men. My grandfather once cut off his thumb with a power saw, duct-taped it back on, and drove himself to the hospital smoking a Camel un-filtered on the way. My grandfather’s theory was simple: no pain – no fucking pain. My grandfather smoked 5 packs a day, worked 3 jobs 7 days a week, ate beef for breakfast, lunch, and dinner. One night in 1985, he ate a big steak dinner with a side order of bacon and extra steak fries. He ordered some coffee, sat back, lit up a cigarette, and exploded. I don’t wanna hear about Arnold Schwarzenegger. Even Arnold caved in. In Terminator 2, he was all of a sudden Mr. Caring Guy, protecting the kid and hoping the earth wouldn’t end. Bullshit! There was even a sequence at the end of the movie where a huge truck full of flammable liquid tears down a highway for about 3 minutes and then doesn’t blow up! A sign of the times if ever there was one. Every real man knows the one golden rule of macho movie making: if you see a truck on screen, blow it up! In Thelma & Louise, the women saw a truck. What did they do? Susan Sarandon pulled out her gun and blew the truck way the fuck up. Another sign of the times. Arnold’s tromping around praying for the earth to save itself and Ms. Davis and Ms. Sarandon are drinking and shooting and screwing their way all over the macho west. Citizen Kane? A masterpiece. But every real man knows it would have been better if a huge Mack truck with the word ROSEBUD emblazoned on the trailer drove through the front gate of the mansion and then KAA-POWWWWW!

Another movie matter I’d like to get off my girly little chest: asses. Part of this new male code has men baring their butts on screen the way women used to do. Mel Gibson, Kevin Costner, Michael Douglas, and of course, Arnold. Hey, if I wanted to see Kevin Costner’s ass, I would’ve married him. You never saw Bob Mitchum’s ass. Our macho movie idols have changed forever. No wonder they end up baring it all. Listen to the names–Mel, Kevin, Michael, Arnold. In the old days movie stars had real names: John, Bill, Duke, Buck, Chuck, Rip. Kevin sounds like your skinny Irish cousin with the big Coke bottle glasses and a heat rash; Mel, the guy in charge of aisle five at DeNault’s True Value Hardware (“Excuse me Mel, where are the light bulbs?”). It’s getting very bad, guys. We don’t blow up trucks anymore. Hell, we don’t even DRIVE trucks anymore. We drive simple little Japanese cars with air bags. In the old days we used to rip out the seat belts and fly through the windshield ready for action. “Thrown from the car.” Remember that phrase in accident reports? Always the sign of a very macho driver. We seem a little more sorry, a little more plump, a lot more ladylike around the edges. If you really want to reclaim your macho self, if you really want to be a macho, macho man, stop reading this. If you are still reading, you probably need a little more help. Don’t go on a Male-Bonding Self-Discovery Weekend; here, instead, is a guide:

BALLS, A.K.A. COJONES: You should have several. Preferably brass or steel. Extra large.

CRYING: Never. Ever. Over anything. Not death in the family, not a bullet in the chest. You may tear up ever so slightly in one eye only when watching a favorite sports legend retire. You may tear up in both eyes only when kicked, accidentally or on purpose, in the COJONES.

KISSING: see “SPORTS”

HUGGING: see “SPORTS”

SPORTS: Once all men within reach are dressed in a team uniform, it is perfectly acceptable to kiss and hug and grab each others’ asses. This is probably because all men are latent homosexuals and prefer male company to female company. But if some guy points out this fact to you, punch him directly in the throat. (Optional retorts: “Prefer this!” or “Fuck You!” or ” Shut the fuck up!”)

HEALTH: Never go to the hospital or visit a doctor. If you have a stroke, keep drinking and act like you prefer to use only one side of your body. If you cut off a limb while using a power tool–so what? That’s why there’s duct tape and staple guns. If someone tries to drive you to the hospital after a heart attack or maiming, punch him in the throat. (Optional retorts: “Drive This!” or “Fuck you!” or “Shut the fuck up!”)

DIET: Meat, cigarettes, meat, booze, meat, and coffee. In case of aneurysm or alcohol-induced coma. see HEALTH

Dennis isn't A man... he's THE man.

Dennis isn't A man... he's THE man.

FIGHTING: At all times, over anything. Never hit a woman. Or a child. Or a bus. Never hit a priest until he takes off his collar. (If it’s the pope, wait until he removes the large hat.) Clergy will often provoke a punch in the throat with their “violence doesn’t prove anything” pontifications. (Optional retorts: “Prove this!” or “Fuck you Father!” or “Shut the fuck up, Padre!”)

DRINKING: No falling down. No puking–unless to empty the stomach in order to continue drinking. No slurring of words. Tell a few war stories: “See that scar? I was in ‘Nam and I ate a grenade and it blew up in my colon.” If your aim is off due to alcohol, it’s acceptable to punch someone in the head or solar plexus.

SEX: You’re probably too drunk or just plain stupid to have sex but pretend you get a lot. (i.e. “You should’ve seen me last night, blah, blah, blah, blah.”)

Absorb the info above and you should be on your way! Real men are not willing to take advice also. So don’t use any of this, and you’re on your way to being the closest to macho as you’ll ever be.

David Vorhaus Analogue Electronic Music 1979

The MANIAC

The MANIAC

In this historical video excerpt, David Vorhaus talks about two of his analogue inventions – the MANIAC analogue sequencer, and the Kaleidophon from 1979.

The MANIAC (Multiphasic Analog Inter-Active Chromataphonic (sequencer)) was an analogue sequencer having variable step lengths, and the ability to split sequences into several smaller groupings giving considerable sonic potentiality. Addition and subtraction of events was possible, as well as the possibility to chromatically correct the output during performance. David could program his MANIAC sequencer to play a background rhythm or combination of musical events, to then improvise over the top with another instrument or synthesizer.

The Kaleidophon was a double-bass-like instrument using four velocity-sensitive ribbon controllers instead of strings. The instrument is played entirely using the left hand, leaving the right hand free to manipulate the sound via a number of controllers and a joystick.

David speaks about the processes of making electronic music, and the developments that such possibilities can provide for the imaginative electronic musician. This excerpt is taken from the BBC 1979 documentary entitled “The New Sound of Music” hosted by Michael Rodd.

The Show Must Go On

Itzhak Perlman

Itzhak Perlman

On Nov. 18, 1995, Itzhak Perlman, the violinist, came on stage to give a concert at Lincoln Center in New York City. If you have ever been to a Perlman concert, you know that getting on stage is no small achievement for him. He was stricken with polio as a child, and has braces on both legs and walks with the aid of two crutches.

To see him walk across the stage one step at a time, painfully and slowly, is a sight. He walks painfully, yet majestically, until he reaches his chair.  Then he sits down, slowly, puts his crutches on the floor, undoes the clasps on his legs, tucks one foot back and extends the other foot forward. Then he bends down and picks up the violin, puts it under his chin, nods to the conductor and proceeds to play.

By now, the audience is used to this ritual. They sit quietly while he makes his way across the stage to his chair. They remain reverently silent while he undoes the clasps on his legs. They wait until he is ready to play. But this time, something went wrong. Just as he finished the first few bars, one of the strings on his violin broke. You could hear it snap – it went off like gunfire across the room. There was no mistaking what that sound meant. There was no mistaking what he had to do.

Itzhak Perlman

In the moment.

People who were there that night thought to themselves: “We figured that he would have to get up, put on the clasps again, pick up the crutches and limp his way off stage – to either find another violin or else find another string for this one… or wait for someone to bring him another.

But he didn’t. Instead, he waited a moment, closed his eyes and then signaled the conductor to begin again. The orchestra began, and he played from where he had left off. And he played with such passion and such power and such purity as they had never heard before.

Of course, anyone knows that it is impossible to play a symphonic work with just three strings.  I know that; you know that. But that night Itzhak Perlman refused to know that. You could see him modulating, changing, recomposing the piece in his head.

At one point, it sounded like he was de-tuning the strings to get new sounds from them that they had never made before.

When he finished, there was an awesome silence in the room. And then people rose and cheered. There was an extraordinary outburst of applause from every corner of the auditorium. We were all on our feet, screaming and cheering, doing everything we could to show how much we appreciated what he had done.

He smiled, wiped the sweat from his brow, raised his bow to quiet us, and then he said, not boastfully, but in a quiet, pensive, reverent tone, “You know, sometimes it is the artist’s task to find out how much music you can still make with what you have left.

What a powerful line that is. It has stayed in my mind ever since I heard it. And who knows? Perhaps that is the way of life – not just for an artist but for all of us. Here is a man who has prepared all his life to make music on a violin with four strings, who all of a sudden, in the middle of a concert, finds himself with only three strings, and the music he made that night with just three strings was more beautiful, more sacred, more memorable, than any that he had ever made before, when he had four strings.

So, perhaps our task in this shaky, fast-changing, bewildering world in which we live, is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left.

This article was found on jr.co.il (© 1996-2010 Jacob Richman)

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