Intro: Tom Pearce & I have a deal. When it’s either of our turns to go to work, that person has full control. Tom Pearce has attracted attention within the music industry as a respected producer & electronica artist. Through his new affiliation we have a new distro deal that offers us great penetration into the music business.
We have set an official release date for “Millennial Whoop” at 11/27. This song is a monster crossover single, so we’re doing everything we can to get it as much distribution as possible. “Millennial Whoop” is the first single from the 4-song mini-album: Extended Play 2019.
Note, November 27, 2019 is when this song will be available on all the major streaming services including: Spotify, iTunes, Pandora, etc… “Millennial Whoop” can be downloaded here & now for FREE, because we’re about the fans. Share it if you love it, and let the new-release, underground buzz begin!!
1. Millennial Whoop - Ric Size
I’ve never done a rap/pop song to this extreme, so this was fun. A year ago, Tom sent me a YouTube link on this phenomenon in modern pop music production. Patrick Metzger coined the phrase a few years earlier in a study he published, which is now well-known & cited. Months later after learning about this, I was out and recognized it on someone’s cranked-up car speakers as they drove by, and starting singing my own improvised chorus back to them on the spot.
Millennial Whoop official video (YouTube): Coming soon!
I consider this song to be partly a public service announcement, as well as a punk cross-over single. References include: Woody Guthrie, The Sound of Music (1965), Kelly Clarkson, Coca-Cola, square dancing call-outs, Donald Trump’s aversion to people coughing, The Birdcage (1996) & Basic Instinct (1992). I ‘baby’ it up a lot, which is my hybrid of Barry White & Justin Bieber. We had a real good time together.
Rachel Decker: vocals
Tom Pearce: beats & tones
Bill Pelick: bass
Written, published, & copyrighted by Ric Size; No Cliché Songs / Infinitelink Records 2019
Produced by Tom Pearce / Last Minute Production
We are currently about two decades into the “noise wars,” which is defined as excessive compression to make songs louder for cheap mobile headphones. Car commercials which blast non-stop, louder than the rest, is the comparative to the “noise wars” in television audio production. The only way an independent artist can compete against this degradation of music is by having better songs, and knowing how to record & produce them.
As the 2010’s close out, this is a review of all my albums and their songs. When people ask me, “What is your best song?” I reply, “I have a lot a great songs, go to Spotify, et al, and pick a title that looks interesting.” Then people ask me, “What are your best songs?” That’s tough again, because I feel I can easily fill any top-10 (20, 30…) list with songs that no one in my era can beat. My personal top-3 are “Ridiculous”, “Anna Rex”, and whatever other song you love. I have a lot of amazing songs. Much depends on what you prefer.
I was really excited, and very naive, when I finally released my debut album Magnified in January 2012. It was really fun to record with Jay Stanley, who is a songwriter, turned producer. He had a great studio on the 2nd floor of his house in Ocoee, Florida. It was separated from everybody else, which allowed us to work well together without interruptions in the summer & fall of 2011.
I would come in with my songs, and we would usually record 2 per two-hour session. I laid down the guitars, vocals, bass and harmonica– in that order. Jay would loop the rhythm guitars & bass to keep it tight to the click track. Then Jay would drop in beats electronically, as I would monitor & make suggestions. I’ve said it before– in many ways this is a rock-electronica album. I did the beats (mostly looped) on “Mercury Rising,” and the hi-hat on “Pay to Play.” The rest were done by Jay, and I feel he was very creative with them.
The biggest limitation of this album is in its production. Jay Stanley isn’t a professional producer, which is a skill that takes decades to master. He has the passion for music, which can get you a long ways, but there’s a lot of harshness of sound & distortion clipping on Magnified. I wanted that punk, trebly edge, but there’s too much in hindsight– IMO.
There’s also very little bass, which is under-mixed, and a common error among under-experienced producers. There’s a lot of wash in the sound, but I accepted that knowing I played everything, and that much of it was looped. For a debut album, this is a 4.5 star effort on the 5-star album scale. Every song is an anthem, and it’s delivered on time. It was a lot of fun to make, and nothing else from 2012 sounds anything like this underground classic. I dubbed it revolution rock, and established this site with the help of webmaster Tom Pearce to promote the record.
I wanted better sound separations, and more live playing for my follow-up album. I went back to Jay Stanley in the summer of 2013, who had by then moved his residence (and home studio) to Apopka. I was to be among his first clients in this new studio, which is a suburb garage converted into a music studio. The acoustics and sound-proofing were problematic from the start.
This is when I brought in Tom Pearce to be my drummer. Tom is a professional musician and sound savant. He immediately began making me aware of issues with the recordings. I intended Electrified to be my best album, and as Tom began to challenge my conceptions of what this album could sound like, I began to butt heads with Jay. There was one time where Jay’s needy girlfriend busted in on our session (again), and Jay flipped out. He left the control room in anger, then came back and said to me, “The session is over.” I had been there for 20 minutes.
I packed up & left, stopping at the first gas station to relax and gain my composure, when Jay texted me that I could come back, and that the issue was his girlfriend is an alcoholic. I went back in a mood, pulled out my Stratocaster and told Jay to record. It was the guitar riff to “Brothers.” I remember singing those sobering lyrics to him in the soundbooth. That’s an example of the intensity level throughout the recording of Electrified.
I also brought in videographer Susan Cameron to film a studio session, and it was inserted into my attempt at a documentary movie of the same title. There was a lot going on, for sure. By autumn all the songs had been tracked (except for Rachel’s vocals), and I asked Jay to do a rough mix-down. I was asking him to impress me, but he didn’t. It was at that point I asked for a copy of all the tracks to Electrified. Jay wasn’t happy about it, as anyone would be, but to his credit he acquiesced and put the tracks on an external hard drive. From this point, onward, everything I have recorded has been produced by Tom Pearce.
As mentioned, I made an attempt at a feature length motion picture. Electrified! the movie died in the rough cut phase because: 1) no more money, and 2) creative differences between myself & Susan Cameron– my partner on the project. I financed the project, and she was underpaid for sure. Susan Cameron was an amazing inspiration to this film, and we patched it together in a little over a year– using entirely local talent.
All it needed was some production polish & final editing, but when I introduced the “Marxist lecture” portions of the film (near the end of shooting), she suddenly lost interest. By January 2014, local businesses & influencers had gotten wind of Ric Size, so they threw a bunch of money at her to do their overblown projects while abandoning the film. That’s my version of what happened. I’m not bitter, just disappointed.
When it came to forming a list of potential promotional partners (sponsors) for the film, Sue kept suggesting Bill Maher, et al. I kept insisting it could only be a revolutionary superstar artist, such as Madonna or Brian Eno. Sue is a liberal Democrat producer, and I ‘m a Trotskyist artist with creative control. In the end we did amazingly well to get that far into production (~98% finished) before breaking up. It’s still a powerful film, and the original soundtrack is all Jay Stanley mixed.
Orson Welles was asked near the end of his life at a press conference, “What is the best part of making movies?” A once-again defeated Orson Welles candidly replied, “When you know the money is in the bank.” Don’t attempt to make a film, unless all the money is there to finish & distribute it. That’s a hard lesson.
Tom had to transfer the digital files out of ProTools (Apple), and convert them into PC format so he could use Studio One, which is the software he decided upon. It has been a great choice, as it records very clean, and I am doubly happy because I paid for all this.
ProTools mucks-up the recorded sound with its built in effects. ProTools is the “industry standard,” but it’s also why so much of today’s music sounds the same. Many serious musicians have moved away from ProTools in the past few years for the same reason. Tom & I have been leaders in this movement towards better sound quality & the return of dynamics.
There were many tracks on Electrified that had to be re-recorded after my split with Jay Stanley, due to poor or faulty microphoning, especially on the drum kit. Tom used his own snare, but the rest was Jay’s in-house kit, which was mic-ed by at least 8-10 microphones. Some worked, and some didn’t. Lots of spillage, etc. There were 30-40 tracks for each song, due to this style of microphoning, along with digitally duplicated tracks. Many were just empty air.
Once again, this isn’t good professional technique, and I want people to understand how much work it was for Tom Pearce to wade through all this jumble, and piece this album back together. This was also very frustrating for the songwriter, as I knew these were great songs, but the studio engineer/producer kept dropping the ball and making me look bad, when he’s supposed to be covering my mistakes and making me sound good. Like I said, there’s lots of tension on this album, but in the end it was worth it. I thank Jay Stanley for giving me what he could. At least he was willing to “go there” with me, which no one else would do. It takes balls.
The biggest improvement on Electrified are the professional musicians & producer. The song quality is roughly equal to Magnified, perhaps a bit better. Tom’s live drumming shows up instantly in “Spirit of the Road” and is an essential element to this 5-star classic. There is (again) not a bad song on this album, and I’m pushing every button. I’ve got what sounds like a backing band, but in reality, are supremely artistic musicians helping out. Electrified may be the best rock album of the past 25 years or so. I know I haven’t heard anything better, or even close to it. If you have a suggestion I’d love to hear it.
Craig Roy did all his bass in two sessions– Anna Rex, Old Friends, Tip of the Cap, Listen to the Woman, Brothers, Moneybug & More Like Us. Bill Pelick did his guitars & bass (Tip of the Cap & Just Because) in one session. Jessica Lynn Martens did her violin & vocals (Anna Rex, Old Friends & Moneybug) in one quickie session. Rachel Decker did her vocals twice, because Tom accidentally erased her initial session for “Listen to the Woman.” That’s kinda how it went.
The biggest blunder I made with Electrified was the cover. I already had the image, which is shown above as Tom & I playing live in Apopka in summer 2012. The photo was taken by Laura Rivera, my ex-step daughter. But I eventually switched the cover to a black & white screenshot from the movie, as a promotional tie-in. Big mistake, as the movie was never finished, and the live image is better. Tom says he wants to re-mix & re-master Electrified, and when he does, Laura’s live photo will be the cover.
Tom worked on producing this record, night & day, for nearly two years. He had finally opened up a watch repair shop of his own in a tin shack at the corner of Highway 19 & Main St in Tavares, FL and set to work on producing when things got slow– which they mostly were.
When he finally finished production and put Electrified online in October 2015, he then asked me with a smile, “What’s next?” I told him I wanted to make a “Beefheart record.” Tom instinctively understood what this meant, and so he closed the watch shop for a few hot afternoons in October-November. We recorded six songs live in the makeshift studio he had built. I had taken up the slide by this point, as it was apparent I was never going to find a stable backing band for live shows. A slide adds an element of attack and sound separation to guitar playing. A solo performer can use this effect to stand out.
We recorded “Haters, Step Aside”, “Rolling Stoned”, “Problem Solved” and the rest in two sessions, I took the album art pictures immediately after the final session, and TomP shot me while I was playing. Tom recommended the title, the format of me playing solo, and doing it as an EP. Today, Highway 19 & Main St already stands as one of the best rock EP’s ever. Tom & I both like this record better than Electrified, because it’s recorded live and we were having fun.
We then recorded 16 covers for what I titled Fully Covered, but never released officially, because of licensing rights. Fully Covered was only released on YouTube and linked through this page on my site in November-December 2016 & January 2017, with videos for every song. I provided most of the content, and TomP put the images together to produce the videos.
YouTube has brutally censored my content, so this project hasn’t been allowed to receive the distribution it deserves. We’ll eventually release Hwy 19/Fully Covered on a single CD. Honestly, I don’t believe any solo performer can do these types of covers as well as I do, so everything that Tom & I recorded in this tin shack is a 5-star classic.
After these landmark underground albums were released in rapid-fire succession, I focused on blogging, as no touring or live performance opportunities were available to me. My influential blogging career began in earnest in 2016, and has continued up to the present, as there are still no live performance opportunities for me.
I was sent an eviction notice in the spring of 2017, and had to move from my Mount Dora apartment by July. Before I left, I told Tom I wanted to record my last batch of songs. I wanted to make sure this final album would get made, as I wasn’t sure where I was moving to, and if I would be able to record with Tom after I had moved.
Over & Out was released that summer, and was somewhat a rush job, as everything except “Yes/No Wave” was recorded in one session that May. Tom brought his recording rig to my apartment, and was experimenting with different techniques, which is why some of the recordings sound a bit different. If you really listen to this album, you realize how intense & serious these thoughts are. To keep them in one’s head indefinitely can only lead to frustration & insanity. That was my motivation to get this record done, and for its title.
This was another solo, acoustic record. Tom added beats & effects to “Up Around the Clock” & “Many Miles.” We now have a rehearsal recording of “Up Around the Clock,” with Tom on drums & Bill on bass from fall 2018, and maybe someday we’ll release it, as it’s surely better than the album version. The song I really don’t like on Over & Out is “Waves,” as I had issues with my capo, which I rarely use. The songs on Over & Out are strong, but could have used some help from other musicians in certain areas. I rate this as a 4-star record, as the best songs are really strong and it does hold together, but could have been better.
One of the hardest things to do as an artist is to let go. Once an album is done & released, it’s not yours anymore. It now belongs to everybody who listens, and it’s what they think that counts– especially the kids. I’ve spent a lot of time here, nitpicking at my work, which is what you have to do to be a honest critic of yourself. It’s not easy, and definitely not fun, but it’s necessary– since it is the only way you can control your narrative. If you don’t do this, then someone else will, and they may promote a version you don’t approve.
I really did think I was finished with music after Over & Out, but somehow a few new songs crept into my head and wouldn’t leave me alone, so by late 2018, I had informed Tom of my intention to record a new single– at least. This morphed into a 4-song EP which is currently in production.
I think Extended Play 2019 will be the best batch yet. The songs are strong, and the playing & production have overwhelming technique– it’s remarkable. It’s a lot more fun this time, because I have great help everywhere. It’s easier to do now, but that’s only because of all the challenging experiences I’ve had in the past. Actually it’s never easy making art. It’s fulfilling, but always challenging. Making it look easy is the genius part.
Final Critique: What TomP & I have accomplished, with a little help from our friends, is nothing less than revolutionary. How many rock artists are considered as a serious political leader & theorist? None, until I came along. This has opened up new artistic fields for musicians, as blogging has become THE influential underground internet journalism format. Now everyone makes their own movies and uploads them to YouTube. I still say Electrified! is the best of the bunch, and deserves a sponsor to produce & distribute it.
The fact is that even the best songwriters can’t write a really great song every day, week or even month. Artists can fill that creative void in music, by reading & analyzing world events in all fields: economics, politics, sports, art, science, literature & pop culture. That was never possible before the internet & social media. What the persona of Ric Size did was show everyone how to do it. I got essays, mp3s, pics, videos & a movie. That’s hard to beat, especially considering it’s all DIY and in the establishment’s face. Imagine if I had some real money to work with…
When it comes to “Artist of the Decade,” it isn’t close. No one has been the artist I have been in this era. No one has been more influential in revolutionary politics & youth pop culture. That’s why I am blacklisted. So I will never appear on any mainstream lists of this “decade’s best.” The further reality is that 2nd place isn’t even close, and that really can’t be acknowledged. That’s the current impasse with me not being critically acclaimed. It’s the power of art.
“Critical acclaim” is a nebulous topic in entertainment, by design. Music, film, theater, etc is meant to entertain, and it’s a business first. Never forget that. Anything beyond this is considered a bonus for fans, but often a negative for the industry. When entertainment becomes art, it educates & electrifies the masses, which is something the establishment always seeks to contain. These are the ideological (political) issues which determine access to art.
Critical acclaim is used as an instrument to manipulate public opinion on art. When an artist is blacklisted, such as the Velvet Underground (Andy Warhol) were in the 1960’s, their records don’t sell. When their catalog becomes unavailable in the 1970’s, they become “critical darlings”– because no one else can hear their music, so critics get a monopoly of opinion. It’s about who controls the narrative. Censored artists also have a hard time touring in any era, due to few good opportunities & low pay. It’s a grind, and it’s the reason brilliant bands like the VU break-up the way they did.
Captain Beefheart is another example of an artist who was censored & undercut by the industry, because he was too far ahead of his time. Beefheart was branded “critically acclaimed” with Trout Mask Replica (1969), and that label unfortunately stuck. If revolutionary artists such as the VU, Beefheart, the Stooges, Graham Parker, Wire, the Minutemen, Husker Du, Sonic Youth, Bikini Kill, et al, are never played on classic rock radio (or any other industry-defined format), then how are music fans supposed to find their music?
Where’s the critics’ support for getting these artists on FM radio, so we can randomly listen to them in our vehicles? This “critic support” doesn’t exist, because “critical acclaim” is a fraud. For decades, the music industry had a stranglehold: payola for radio promotion; distribution through record/CD stores & touring for sales; Rolling Stone magazine, et al for media publicity– meaning favorable critical opinion of established major-label performers.
If you weren’t “plugged in” to that network machinery, then you couldn’t exert much influence, or get paid. The significance of the grunge movement (late 1980’s/early 1990’s) was that college radio stations & indie record labels became an influential force outside of industry control. By the late 1990’s, reaction had set in, and nearly all the college stations & indie labels had been bought-up & corporatized.
This is why the internet rules today, because it democratized music availability– when Napster came along. YouTube & Facebook are social media platforms which exchange content & ideas, and despite the worst efforts of corporate ownership to manipulate users with AI & algorithms, it’s now impossible to keep revolutionary music from reaching listeners– young & old. If you want to find something you will, and that wasn’t always the case.
This is why these “critically acclaimed” (ie- suppressed) artists are now finding greater audiences. Being “critically acclaimed” has always been a fallacy, because it’s the critics who most fear & hate revolution, as it threatens their comfy & lazy pencil-pushing existence. When their “expertise” is called into question, there’s nothing left but blabber & smoke. If these phonies are exposed, they may be forced to get a real job, and they don’t want to do that.
A “critically acclaimed” artist has precisely half the weight of critical opinion in support, and the other half hating. This means everything washes out to a net zero in total impact. Who do you believe as a reader, the positive or negative critic? Comparing critical opinions often comes down to who is the better writer, or worse, who is more powerful in the industry. The problem, of course, is the better (or more powerful) author may be prejudiced. If this person becomes editor, he/she controls the flow of many opinions.
If fact, “critical acclaim” is given more generously to those with little-to-no talent, for the opposite effect, but same purpose. This is the hyped garbage which is elevated by the media, and is meant to replace art. Armies of establishment critics universally praise this gobbledygook when solicited by their paymasters. They must, it’s what pays the bills.
These days the industry prefers to produce its superstars, instead of letting them happen out-of-the-blue, which is why Taylor Swift, Justin Bieber, et al dominate the teen music market. These mega-stars are created (and then re-created) by the industry machinery, and rely on it to sustain their success, which makes all of them easy to control. It’s a long way from John Lennon & Mick Jagger, for sure.
Critics pose as experts by using their learned knowledge of human experience, to consolidate bourgeois opinions on art & pop culture through the media. Take jazz music for example. You can’t be a respected critic in this field, unless you bow down to certain sacred cows– Miles Davis, John Coltrane, Charlie Parker, et al. As a critic, you have lists of all sorts in your head; best songs, albums, players, genres, eras, and so forth. These critics are always ready to pounce on any heresy, with pre-formed sound-bites & arguments. These are the sort of fakers which real artists & serious listeners despise.
But to stick with this example in jazz, let’s say something fresh & revolutionary hits, from an unknown artist, which merits that level of reverence. Will that work be immediately recognized as genius by the critics, on the same level as these acknowledged masters? Not a chance. You see, these experienced critics “know” that no one can be that good anymore, so this can’t be a genius of that order.
That is every establishment critic’s “thought process.” The kids & music freaks LOVE this new prodigy, and share it with everybody. The critics will certainly notice this, because true critical opinion comes from the kids; but the critics will not acknowledge it, or at best be cold & demeaning towards it, because it replaces sacred idols. Their lists are set in stone.
If this new artist is indeed the real thing, then the work will hold up, which means more underground fans, but still no mainstream critical acknowledgement, much less praise. What happens over time is that critical opinion changes, as new critics join the field, as long-standing fans of that artist. At this point, the artist is now “critically acclaimed,” despite the fact that 99+% of their support comes from fans.
Conclusion: If you approach art with the goal of pleasing the critics, then you are on a path towards failure. Most critics don’t care, they only pretend to care using sophistry. There is very little passion for art with critics. But it’s that passion which keeps us young, which connects artists to the kids. Nowhere in this equation is the critic helpful, unless they approach art with historical experience & an open mind.
Music as art is all about the artists & the kids. Once the kids are hooked, they become fans for life. My goal as an artist is to reach everybody, but the kids are always first. Are the kids going to like this? Does this send the right message? These are the questions real artists grapple with during the creative process.
In this era fans want/expect to be informed– as things are happening. So in that spirit, here’s a good chunk of the liner notes from the upcoming 4-song EP.
Extended liners: We lined-in dry on all guitars & bass. Lining-in means direct cabling from the instrument to the soundboard that links to a computer, which records the performance. Dry means no effects. If you are studio recording “live as a band,” then effects can be used, as long as they are kept under control. But if you apply effects to the guitar/bass during multi-track recording, insisting “that’s the sound I gotta have,” then the guitarist is leaving the producer with little-to-no headroom for sound treatments, including the three most important parameters: reverb, equalization & compression.
Those three effects are ~95% of properly-done sound production– in any era. Getting the best sound is the purpose of multi-track recording, and it’s how most music is put together. To all those guitar heroes with racks of effects & foot pedals, here’s some good advice from studio experience: save them for the live shows. They are mostly useless in the studio today, due to computers & digital-effects software.
We are currently about two decades into the “noise wars,” which is defined as excessive compression to make songs louder for cheap mobile headphones. Car commercials which blast non-stop, louder than the rest, is the comparative to the “noise wars” in television audio production. The only way an independent artist can compete against this degradation of music is by having better songs, and knowing how to record & produce them.
With this in mind, what you need from a guitar in the studio is a clean & strong signal. If the player(s) get it right, and the engineer records it properly, then the music has a chance of eventually smashing all the loud junk on the radio, MTV, American Idol, AGT, et al. Effects muddle the input signal, which hurts the cause, so apply them only in the mixing stage, not during recording.
Marketing, social media & internet censorship: Once uploaded to the internet, mp3’s quickly proliferate onto all the streaming services, big & small. But don’t be deceived, each service has their own proprietary algorithms which mysteriously work against independent artists. I’m at the top of these blacklists. YouTube, Facebook, et al, are revolutionary social media platforms, which have been hijacked by corporate ownership to work for the military-intelligence apparatus.
Therefore, don’t waste too much time in these domains, because they can (& will) turn you down, make you invisible, & de-platform you without your consent or knowledge. Make quickie thumbnail-image videos for the songs, and let your fans speak for you in the social media forums. That way you’re not devastated if/when videos get taken down, turned down, etc… Fakebook has designed its AI algorithms, so you’ll only see your haters if Mark Zuckerberg doesn’t like you.
The greater truth is that most kids today download mp3’s either through the artist’s site directly (free– like me), or through an illicit sites (if not free). The message is: make your mp3’s free, as their quality isn’t that of wav files– which is compact disc quality sound. Free mp3’s maximizes distribution, and the name-of-the-game is making new fans.
Streaming is internet radio, so don’t expect to get paid, because you won’t. You don’t have the industry clout. This scientific understanding & revolutionary approach is how underground artists can keep their sanity, while fighting fascist censorship & winning the loudness wars.
Final thoughts on recording: You must be able to work with a click track in order to get set pieces like “Patch Me Up Doc” or “Millennial Whoop” to work. Set pieces are defined as songs you don’t play live. They are more studio creations than anything else. A songwriter typically needs lots of help with set pieces, in musicianship & production. The Beatles “A Day in a Life” is a classic example of a set piece.
It often depends on what instrument the songwriter plays, to determine the order of recording. Does the songwriter have perfect time? Most often, the answer is “No.” The rock music songwriter must find a way to match up melody, riffing & lyrical ideas, with beats.
If both the songwriter & producer aren’t drummers, then the drum track should be recorded first, followed by the bass. This is typically recorded by placing a microphone in front of each guitar & bass amplifier, and around the drum kit. That is a traditional recording sequence & microphone technique when multi-tracking.
You have to know the circumstances & your strengths, while having no weaknesses when studio recording, otherwise you will crack– wasting time, money & relationships. Your team is there to cover your weaknesses with their expertise & skills. It’s a lot easier with digital, if you know what you are doing. My colleagues on this project are true professionals, they are as talented as anyone, and have my eternal respect & gratitude.
What happens to the original tracks & recording masters? Today, any independent musical artist & record label needs to be at the cutting edge to make an impact– both creatively & in business practice. The model we’ve developed is low-cost & top-notch because it’s revolutionary DIY, using the latest technology & boldest ideas from start to finish. Every studio recording that I’ve ever made, dating back to 1997, has been uploaded to a Google share drive. TomP does the same thing with his ex08 project, and everything else.
The Universal Music Group (UMG) fire that blazed through its irreplaceable archives in 2008 (and then was hushed-up for over 10 years) is a valuable lesson in corporate priority & artist responsibility. UMG is a conglomerate money-making machine, with little sense of artistic value towards it archives. They kept things quiet, and collected the insurance money, while the artists whose masters were torched didn’t even know what had happened. UMG allowed the works of many, many legends it was supposedly safeguarding, to carelessly burn to ashes. Many of these incinerated archives were never transferred digitally, or uploaded to a cloud server– so they are lost forever.
Of course, Tom & I have these files on our computers & external backup drives too, but a cloud-based share drive is how to communicate large amounts of data, such as multi-track recordings, final masters, videos, etc, with a producer. The other benefit is that it protects the music & art from being destroyed into posterity.
This also means a private corporation (Google) has all my stuff in its cloud. And by extension, it means the NSA, FBI, CIA, et al, also have them. That’s the price an artist has to pay today, to protect the existence of content. This takes confidence that you have maximized your abilities, knowing that no one else can do it as well. These songs be proof.
Rock music songwriter & performer Eddie Money died of esophageal cancer on September 13, 2019. He was age 70, and still performed until his recent late-stage diagnosis, which turned out to be terminal.
If you look on my “Influences” page, you’ll three paragraphs of artists, which ends with “and hundreds more…” Eddie Money is among those hundreds more for me. The hardest thing to do in rock music is write a song that kids want to hear over & over. I’m talking about a song that hits you immediately, and gets you excited. Eddie Money did that for a decade, and that ain’t easy folks.
His eponymous debut album came out in 1977 and the first cut, “Two Tickets to Paradise” catapulted him to stardom– becoming his signature hit. Eddie Money came from classic rock, as this dinosaur genre was being overtaken by punk, funk & disco, then later post-punk & new wave. “The Money Man” earned his name because he could deliver the goods, meaning at least one or two solid singles per album, and he showed an adaptability most classic rockers disdained. This is what kept him relevant into the 1980’s, as others of his era faded away.
Eddie Money lived up to his name, by signing with CBS records and being placed on their prestigious Columbia label, instead of their second-tier Epic label. Bands on Epic from the classic rock era include the Yardbirds, Sly & the Family Stone, REO Speedwagon, Boston, Heart, the Clash & Cheap Trick to name a few of the best known. Epic artists never got the publicity, promotion & distribution that Barbra Streisand, Bob Dylan, Paul Simon, Bruce Springsteen, et al got on Columbia.
With this said, Eddie Money was an original rocker who never fit neatly into the classic rock or MTV era, yet was able to carve out a niche for himself. Robert Palmer is often viewed as his best comparable, but Eddie Money was a better songwriter, making deeper albums. Robert Palmer had a better look for the 1980’s, which made him seem bigger (“Simply Irresistible”) at the time. But in retrospect, it’s the songs that endure, which is why Eddie Money’s star shines brighter today.
No Control (1982) is my favorite Eddie Money album, with his debut being runner-up. Can’t Hold Back (1986) was his swan song. On those records, and a few others, you’ll find songs you recognize from the radio, television or movies– while also discovering hidden gems. Just because a song isn’t a hit, doesn’t mean it isn’t worthwhile. That’s how it works with a real songwriter, like Eddie Money.
Talent like his doesn’t grow on trees. Eddie Money had a way of delivering a song with such desperation, like everything depended on it, that you HAD to listen to find out what was going to happen. The guts it takes to be a real songwriter, and put yourself “out there” for the world to criticize, shows through in Eddie Money’s best songs. It’s knowing how to rhyme words, form ideas, and create excitement that make “The Money Man” a songwriter to be studied.
If Eddie Money wasn’t any good, this goofy-looking rocker would have gotten laughed out of show business, especially when MTV came along. If Edward Mahoney had been considered sexy-beautiful, he would have been marketed as a super-star– a new Rod Stewart.
Instead, Eddie Money built his persona through hard work, and turned it into a successful career. Did the lifestyle & grind lead him to an early grave? Probably, yes. Would he do it all over again? Certainly, yes. Why? Because the songs outlive the artist.
Every great player needs a theme song. This kid (age 20) is going to be a great player.
So here’s my “Weird Al” Yankovic version of “Fernando,” the ABBA melodramatic classic…
Note: There’s only the opening two verses in my version, because he’s still a rookie.
“Fernando (Tatis, Jr)”
Can you hear the drums Fernando? I remember long ago another starry night like this In the firelight Fernando You were traded from the White Sox, by an owner who had no clue We saw the Padres future at shortstop And waited patiently through the minors just for you
Now you’re in MLB, Fernando Every hour, every minute seems to last eternally I was so afraid Fernando When you tore your hamstring on a painful stretching try And I’m not ashamed to say That gruesome injury almost made me cry…
There was something in the air that night The stars were bright, Fernando They were shining there for you & me, Padres victory, Fernando Though we never thought we’d dump James Shields– there’s no regret If we had to make that trade again We would, my friend, Fernando If we had to make that trade again We would, my friend, Fernando
[Listen to ABBA original 3rd verse in solemn silence for his father; then repeat chorus & fade out..]
I’ve lived in Sanford, FL for nearly two years. Porchfest 2019 was promoted as its 2nd-annual event, all over downtown for over a month. I had never heard of Porchfest before this year, but I don’t know everything, I’ll admit. All the embedded local establishments had these posters (below) in their windows. Notice that the sponsors are downtown big wheels connected to the Chamber of Commerce.
My interest was seeing the Oak Hill Drifters, who are probably the best band in Orlando right now. My music and business partner plays drums in the Oak Hill Drifters, and I’ve featured a few other OHD-ers on Electrified! (2015). I always like to see them play, if I have time, which I did.
I didn’t get to see them play, on a beautiful day, because no one knew where any of the bands were playing for Porchfest. Where the actual festival was held is also in question– even afterwards. “Housing district” was the best approximation.
There are homes directly east & south of downtown Sanford, with a few also to the west, and Lake Monroe to the north. That’s too broad of an area, and no one could hear any bands playing “Porchfest” from the downtown area.
The Oak Hill Drifters were to play the “Celery City stage,” which turned out to be some resident’s porch, in some residential area, somewhere (?) local. It was nowhere close to the Celery City bar, which had a live performer of its own and was promoting itself as part of Porchfest, with the logo projected on a screen behind the band. No mention of the OHD when I asked the drummer, “What’s up with Porchfest?,” after their performance. He just promoted the events of the day for the establishment, and shut me down on everything else. That’s how you get a gig when you suck.
So what happened? The Oak Hill Drifters were used as an attraction to pack a local establishment, while being shuffled off to a porch where few people could find them. Most of the locals & tourists never found “Porchfest,” and that was by design. Most soon gave up, and went for something to eat & drink.
No maps were ever provided as to the locations of the “stages” or the performers. No signs to indicate “Porchfest, this way,” on the day of the “event.” Porchfest was largely a scam by its sponsors to trap tourists in downtown Sanford and fill their establishments. That’s a shitty way to do business, and very disrespectful to the performers & fans.
For the record, I had my phone with me so I could have called the drummer of the Oak Hill Drifters for a venue address, but the point is I shouldn’t have to. For example, when you have a ticket to see U2, you don’t have to call Bono to ask where the show is, right? The sponsors make sure to tell you because they want you to be there. In Sanford, the downtown sponsors hyped something they didn’t care to deliver, so they could have a big day at the cash register.
I was in downtown Sanford for a large part of the “Porchfest” afternoon. There were mostly no bands to be seen or heard., which is unusual on a Saturday during the snowbird season. No directions on where/when anyone was playing. No one trying to help. Just organized confusion, on a record-heat February 23rd afternoon in central Florida. In other words, business as usual.
I’m glad the Oak Hill Drifters played (somewhere) & got paid, but the organizers of Porchfest get a fail on this. If Sanford business owners have any respect, then one of them will book the Oak Hill Drifters again soon, and actually deliver, so their local fans can see them as promoted. Otherwise these are just small-town scammers. Artists deserve better.
As for me, I’ll keep walking around Sanford, stretching my legs & reporting on what I see. Now whenever I’m confronted for money, my standard reply is, “I spent it all on Porchfest.” Bokeysunderstand & laugh. The rest don’t get it. It’s almost funny.
FYRE: The Greatest Festival That Never Happened (2019), is available for streaming on Netflix. This is one of two recently released documentaries on the epic fail of the Fyre Festival, which was scheduled to take place on a remote Bahamian island over two weekends in April/May 2017. The other is Fyre Fraud (2019), available on Hulu. The reason the Fyre Festival never actualized is because it was a scam from the start, and a metaphor for an entire “fake economy” that defines America & capitalism today.
The Fyre Festival, along with American politics is a hustle, led by sociopathic liars who throw money around, and hype themselves endlessly as the second coming, while delivering nothing. The resemblances between Fyre-brainchild Billy McFarland, and Donald Trump are remarkable. They look the similar physically– fat & stupid, with fake everything for everyone. They surround themselves with beautiful women, excess & celebrities, to boost their owns egos & images. And finally, they are both out-of-control, sociopathic liars, who never deliver on anything they promise.
McFarland’s partners in crime for the Fyre Festival were rap mogul Ja Rule & Jerry Media. They struck gold when they gathered the world’s top supermodels in the Bahamas in late 2016, for a promotional video shoot– shown above. In the Netflix documentary, someone aptly points out that there were actually two Fyre Festivals; the promo shoot with the models– which was great, and the actual event five months later– which was a disaster. The fact that the first is (and will always be) more celebrated, says a lot about this fake world we live in.
This is a Bizarro universe where supermodels & online “influencers” are all-important, as facts & reality don’t matter. What these manipulators actually produce is nothing of value. But their importance remains paramount– we’re told. That’s why Kendall Jenner was paid $250,000, for one social media post promoting the Fyre Festival (without disclosure).
Supermodels & other top social media influencers that were paid to promote this catastrophe included: Alessandra Ambrosio, Hailey Baldwin, Rose Bertram, Hannah Ferguson, Bella Hadid, Elsa Hosk, Chanel Iman, Giizele Oliveira, Emily Ratajkowski, Lais Ribeiro, Amanda Riley, Shanina Shaik & Paulina Vega. Afterwards, all of them have quietly deleted their posts relating to the Fyre Festival, most without comment.
The reality is, that it’s impossible to deliver a “luxury music festival,” on a remote tropical island with no infrastructure, running water, or electricity. When supermodels are paid to hype this garbage, and it reaches the level of media buzz it attained, then we as a society have a serious issue with controlling our sexual urges. That’s what drove Fyre, and it led to disaster. The millennials who bought into this fantasy, really need to look at their own culpability. You can only be lied to, if you want to believe the lie.
Videos with supermodels, selling people their dreams, is as old as MTV at least– yet the scam still works when updated. Why? Because people are blind to what they desire the most. People want (more than anything) to be part of the “in” crowd, and hang out with beautiful people & celebrities. This is a sickness many people have, in which they are telling themselves they can only be “somebody” if they are at a certain event with “cool” people.
This is a pathological & elitist outlook, which denies oneself its own potential to be beautiful & important. That mentality has been beaten into Generations’ X, Y & Z; as image is promoted as everything– especially on social media.
When reality finally bites, insanity & barbarism ensues, because no one is fact-checking. Both documentaries reveal how negative social media comments & whistle-blower websites were censored, as part of the Fyre promotional campaign. That’s because the truth will collapse this fake economy, exposing these “elites” as con artists. This mirrors the US government’s ongoing campaign to censor the internet, in the name of neo-McCarthyism.
America’s fake government is now personified by President Trump– the quintessential sociopathic conman. This isn’t sustainable, and it can’t be reformed, as the Democrats allowed this to be. Both Democrat (DSA, Greens, etc) & Republican (Libertarian, Tax Reform, Tea, etc) parties, along with their staunchest supporters always work together behind closed doors, to sell out the working masses. It’s fake “events” like the annual Super Bowl & Fyre Festival that keep people distracted & mollified.
As of this publication, there are still 800,000 federal workers, who aren’t being paid, and it’s been over a month. Over half of them are being required to work, most notably (so far) the TSA workers, who screen all passengers & baggage in our airports. TSA screeners are fake jobs too, meant to keep us safe from the terrorists who masterminded 9/11.
Those who fly (at all), despise the post-9/11 screening process, as it’s simply an edifice for a police state. It doesn’t make us safer, it just concentrates power into the hands of unaccountable madmen & fascists. One can’t attempt to bring a bottle of water on board, without a TSA screener tripping every alarm, as they confiscate your beverage. The “suspect” then gets a warning, and a canned statement, “You can purchase another one on-board.” Can you see how all this ties in? It’s not hard, if you look.
The reason many of the TSA screeners are working for free, is to keep their bullshit jobs. Most of these airport rent-a-police aren’t qualified to deal with a serious terrorist threat. But that’s not why they are there. The TSA was created and vastly expanded after 9/11, as cheap government labor to secure an objective for the ruling apparatus, which is to be able to lockdown any airport at any time. That’s concentrated power, and the deep state is a “who’s who” of mass murderers & fascist sociopaths, who take this as their divine right.
The mainstream answer to the government shutdown (and everything else) will ultimately be to allow Trump to declare an “executive emergency,” which doesn’t exist in reality, in order to get funding for “border security,” which both Democrats & Republicans support. This will further concentrate dictatorial authority into the hands of the US President, which Trump likes. Impeaching Donald Trump for his destructive recklessness & lack of compassion is off-the-table in this world of fake politics.
Since Donald Trump has boxed himself in with his government shutdown crisis, he goes ahead using (abusing) his Presidential power to create more chaos as a diversion. That’s the deal with this Venezuelan coup attempt Mike Pompeo & company are trying to pull off at the moment. This is the most brazen and unlawful example of election interference that anyone has ever witnessed, yet it’s framed a legitimate diplomacy in the US corporate media.
Government Shutdown Update: Friday 25 Jan 2019 03:30 PM EST
Reuters: Trump announces deal with lawmakers to end government shutdown
The deal is described as “a tentative agreement with U.S. lawmakers for three weeks in stop-gap funding that would end a partial U.S. government shutdown now in its 35th day.” News opinion polls now show public disapproval of Trump near 60%. with a majority of Americans holding him most responsible for the shutdown. Trump still reserves the right for himself to exercise “emergency powers” to get his wall, and powerful Democrats support him on that.
February 15, 2019 is now the next government shutdown date, and (most likely) we’ll be right back here again. This “deal” is a band-aid to stop the hemorrhaging. The only thing furloughed & compelled-to-work government employees care about is when do they get paid again? Back pay & lost wages are also a big issue for them. Trump’s presidency is on-the-ropes, as he & his advisors are stalling for time, until they can assume control with fascist methods.
Here’s some more real news, you never hear on CNN or Fox. There are currently over 70,000 striking auto workers at the Matamoros plants in Mexico, at the US border. These strikers have defied their sellout unions, and are already affecting US production plants, but it has received zero mass media coverage in the US, for all these reasons. The reality & issues are too great for the elites to admit to, so they instead bury their heads in the sand, and hype more fake news & phony events.
Fact checking for a music festival starts with the band lineup. Fyre touted second-rate & nobody acts. Major Lazer is a DJ/producer with just two albums to his credit. Disclosure is an electronica act, also with only two records. Blink 182, the “headliner,” is a dinosaur B-list alternative rock band. Hip-hop pretenders Migos, and Kanye West’s G.O.O.D. Music crew, aren’t the kind of acts that one travels thousand of miles (and pays thousands of dollars) to see perform. Have you even heard of any of the rest?
The screenshot above is a damning exposure of the music industry. The biggest act, Blink 182, didn’t pull out until the last minute, as shown in their infamous tweet. Note their complicity in this fraud, by not telling their own fans that the Fyre festival was now known to be a humanitarian Super-fund site. Instead, Blink 182 apologized in couched language to mask the truth. What were they paid, I wonder? Bullshit act, like all the rest that were “booked.”
What’s most disturbing about these documentaries is the lack of awareness & remorse from everyone involved at the planning, promotional & management level. Billy McFarland & Jeffery Atkins (AKA– Ja Rule) are conman & street hustler. They deserve no legitimacy, just like the rest of this fake economy. They should be sent to prison for a long time, just like the rest of these fascist elites, who produce nothing, and only take for themselves.
The rest deserve some other form of comeuppance, which hasn’t arrived yet. That will only happen when younger people start becoming more socially & politically conscious. It has to happen, otherwise history will continue to repeat itself with this kind of ugliness. That is the deeper message in these two timely documentaries.
Australian Open (Women’s) Update: Sat 26 Jan 2019 ~ Noon EST
Does chemical enhancement count as fakery? I think so.
Serena Williams looked beastly hideous (again) during the 2019 Australian Open, where she cracked in the quarterfinals. She foot-faulted on her 1st serve at match point, and the replay shows it. She has a history of being called for that, only this time she quietly accepted it, like you’re supposed to, instead of blowing it up and using it as an excuse for losing. Naomi Osaka, the 2018 US Open winner, was shamed by Serena’s meltdown.
Serena Williams wasn’t cheated here, she cracked. That is a term tennis players use for what happened to Serena, leading 5-1 in the 3rd set, serving at 40-30. The lines-person called “foot-fault” immediately & loudly, meaning Karolina Pliskova heard it & ignored the serve, so that wasn’t an “ace,” as some have insisted. Pliskova cracked Serena by upping her game and making Williams move, until she rolled an ankle because she’s carrying too much weight. That’s one way to crack an opponent who has that vulnerability.
There is no dishonor in cracking, as compared to her malicious outburst towards a respected chair umpire during & after the 2018 US Open finals. Serena Williams never even apologized for that, or issued any kind of public explanation, outside of wanting to “put it in her rear-view mirror.”
She’s won 23 Grand Slams, and probably won’t win anymore. People need to accept that, as supporting her brand of racialist & feminist hate isn’t healthy. There’s a lot to like & dislike about her career. In this social media age, there’s nothing fans despise more than liars & their apologists
The only chance Serena Williams has at another major is 2019 Wimbledon, where her serve is dominant. Her Achilles’ Heel is her reduced mobility, which shows up against top opponents who can handle her serve. She has no chance of winning another French Open, and Naomi Osaka is now the “Queen of the Hardcourts.”
Naomi Osaka defeated Petra Kvitova (above) in a thrilling 3-set finals match, to win the 2019 Australian Open. This is what everyone wanted to see & remember. It feels a lot more REAL. No losers here, just huge kudos to both!!
Here’s some nefarious advertising for you. Naomi Osaka & Kei Nishikori are featured in this Japanimation cartoon titled ‘The Prince of Tennis,” sponsored by Nissin instant noodles. It’s received a lot of flak over “whitewashing” their caricatures, which led to the ad being taken down. People aren’t tolerating this fakery anymore, and they are better than ever at spotting it.
Osaka who is Japanese-Haitian replied, “I’ve talked to them. They’ve apologized. I’m tan. It’s pretty obvious. I don’t think they did it on purpose to be whitewashing or anything, but I definitely think that the next time they try to portray me or something, I feel like they should talk to me about it.”
Sat 26 Jan 2019 03:05 PM EST
Fake Money-Bitcoin Update: As reported by Bloomberg news, the production-weighted cash cost to create one Bitcoin averaged ~ $4,060 globally in the fourth quarter, according to analysts with JP Morgan Chase. Chinese miners pay ~ $2,400 per Bitcoin, by leveraging direct power purchasing agreements with dirty electricity generators.
All that leads to this question: With Bitcoin trading ~ $3,600 as of this publication, how is the cryptocurrency market sustainable in light of these realities?
I’ve heard way too many interviews with the cool, smart guys in crypto-currency who point to how Bitcoin “solved the double-spend problem.” Most of these Gen-Y & Z wanna-bees have been insulated from reality their entire lives, especially with their expensive bourgeois education in economics, which isn’t worth one read of Karl Marx’s Capital (1867).
These trendy young entrepreneurs live in cocoons, and understand nothing beyond their limited realm. The environmental cost of the Bitcoin/crypto-currency bubble impacts everyone. On the hard economics side, Bitcoin is trading at $500 below unit cost. The only way that happens (and is sustained), is through massive market fraud.
These are the covers I’ve learned & mixed-in over the years, during my limited live performances. Some I don’t play anymore, and new covers (oxymoron) are always being added.
An performer needs to play at least 80% original material (which is well-received), while mixing in quality covers for audience reference, to be worthy of artistic distinction.
This gives you an idea of what I consider punk, post-punk, and fun stuff; and what to expect from me– live.
U2: “Electric Co.” “New Year’s Day” “I Will Follow” “Sunday Bloody Sunday” CCR: “Bootleg” “Lodi” Rick Springfield: “Jessie’s Girl” Bruce Springsteen: “Nebraska” Woody Guthrie: “This Land is Your Land” Sonic Youth: “I Love Her All the Time” “Silver Rocket” “The Burning Spear” Husker Du: “Masochism World” “Green Eyes” Surfaris: “Wipe Out” GNR: “Paradise City” “It’s So Easy” INXS: “The Devil Inside” Joan Jett: “Fake Friends” Chumbawumba: “Tubthumping” Madonna: “Express Yourself” The Police: “Roxanne” Rush: “Red Barchetta” Red Rider: “Lunatic Fringe” Replacements: “Seen Your Video” The Who: “Magic Bus” Neil Young: “Hey Hey, My My” “Crime in the City” VU: “What Goes On” “I’ll Be Your Mirror” “Heroin” “Sister Ray” Sex Pistols: “EMI” The Clash: “The Sound of the Sinners” Wire: “12XU” “Strange” Nirvana: “Molly’s Lips” “Radio Friendly Unit Shifter” “Come as You Are” “On a Plain” “Stay Away” Jane’s Addiction: “Nothing’s Shocking” “Jane Says” “Pigs in Zen” Midnight Oil: “Warakurna” Bikini Kill: “Jigsaw Youth” “Tell Me So” “New Radio” AC/DC: “Down Payment Blues” “It’s a Long Way to the Top (If You Wanna Rock & Roll)” “Kicked in the Teeth Again” “Shoot to Thrill” Mott the Hoople: “Rock & Roll Queen” Minutemen: “Storm Inside My House” Pixies: “Planet of Sound” “Gouge Away” George Thorogood: “Gear Jammer” Tom Petty: “Running Down a Dream” Eddie Rabbitt: “I Love a Drizzly Night” Violent Femmes: “Add It Up” BoDeans: “She’s a Runaway” Bob Marley: “Three Little Birds” ABBA: “SOS” Carpenters: “Top of the World” Spin Doctors: “Little Miss Can’t Be Wrong” Graham Parker: “Clear Head” “Under the Mask of Happiness” “She Wants so Many Things”
Fugazi: “Burning” Belly: “Feed the Tree” Liz Phair: “Explain it to Me”