randy and i had both been working in the Eμ studio for about a year, in 1982, and we were both creating extremely weird music. secretly, i recorded a very long track, in stereo (which, in those days, actually meant two tracks, a left and a right channel) of weird vocalisations made by us while creating other music. i then reversed the track, and recorded it along side the original, which gave me four tracks. then i took all four tracks, reversed them and spliced them on to the end, so it was even longer, and a palindrome. then, i duplicated the process with another long track of miscellaneous rantings, strange noises and other unusual vocal sounds, so that, when i was done, i had 8 tracks of extreme vocal chaos.

when i was satisfied with the level of chaos, i ran the whole thing into the mixer, one track per channel (as usual), although i hooked up the output of the mixer so that, instead of playing only the channel whose “solo” button was depressed, (thus “muting” all of the other channels), the only time it played anything was when the “solo” button for each individual channel was pressed… essentially turning the “solo” buttons on the mixer into a “keyboard” of sorts.

although the “keyboard” was nothing like any ordinary keyboard: from one moment to the next, you couldn’t be sure what sort of noise was going to come out of each particular key: sometimes it would be forwards, sometimes it would be backwards, sometimes it would be screams, other times it would be total silence… multiplied by 8 (which was how many tracks had their “solo” buttons modified).

randy and i then took turns recording entirely new tracks, playing the mixer “keyboard”, to winnow down the chaos to a tolerable level. we each recorded two tracks, and the final track was me playing the “keyboard” forwards for the first half of the track, and then randy playing the “keyboard” backwards for the rest of it.

my impression is that this whole process would be a good deal more difficult these days, because of the limitations of digital mixers, although i could be wrong. my impression is that i hooked up some outputs to some inputs in a way that was allowed because it was an analogue mixer, that aren’t allowed — aren’t even thought of — with digital mixers, although, honestly, my experience with digital mixers is limited.

although, in this case, he’s undoubtedly a lot better off than he was…

tennis elbow!? at least have the decency to call it “computer operator’s elbow” or something like that… on the plus side, it’s not arthritis, which was what was my suspicion until now. he says that arthritis restricts movement, and my range of motion is actually better than it has been in a long time (i.e. ever since i injured my elbow, falling off my bicycle, when i was 21 or thereabouts)… it just hurts like hell.

i had 16 shares last year, and made $720, or $45 per share.

this year, the moisture festival’s “big 10th anniversary celebration,” according to the moisture festival, i had 14 shares, and made $490, or $35 per share.

i’m pretty sure they’re wrong. according to my calendar, we played 6 shows as snake suspenderz, but i only got 2 shares for snake suspenderz. i’m really not sure how they figured out the philharmonics’ shares, because according to my calendar, i played 10 shows with the phil, and they paid me 12 shares.

there’s a possibility that i am still going to get one more share ($35) for the volunteer show, but i’d be willing to bet that, without a great deal more hell than i am willing to raise, i won’t see any more money from them this year.

i’m certainly NOT going to be donating another $100 this year, considering how badly they abused my $100 donation last year, and whether i’m even going to consent to play in the festival next year depends a lot on how much i have calmed down about the whole fiasco in the mean time…

grumble, mutter, gripe, complain, moan…

ETA: i think i figured out the checks, but they’re still wrong: the check for “band shares” is $420 or twelve shares, 10 of which were with the phil, and two of which were snake suspenderz… but i’m still missing one share, and it’s still 12.5% less than i would have earned last year…

it’s a great show and i’m honoured to have been performing in it for as long as i have, but despite all of the cameraderie that i experience while the festival is going on, i’m in it 51% for the cash, and the fact that it has been less and less each year is making a very strong statement about whether or not i will be performing in the festival next year.

although i think that the koch brothers existed, and were even evil at that time, just nobody knew about it yet… and, although the internet did exist, nobody knew about that, either. but i digress.

the first, called Drone Piece Not was created during my first synthesizer class, Electronic Music 101. the instructor was teaching us how to make tape splices, and he instructed a woman in the class to say “I did not do it.” into a microphone. he then demonstrated how to isolate and trim out the word “not”, which made it sound as though the woman had said “I did do it”. when the lecture was over, i picked the word “not” out of the trash and incorporated it into my own piece. this piece of music was recorded in the ARP studio, which was the smaller of the two synthesizer studios. it contained an ARP2600 synthesizer (the same one that is used in the movie “Close Encounters”), a teac quarter-inch/four-track machine and a smallish mixer.

the second piece is called Romance With Gaslamp and it was composed at the end of my first synthesizer class, for my final project. it has an interesting ending, which was brought about by the fact that i learned how to bypass the security alarm in the large synthesizer studio (the Eμ studio, which had an Eμ modular synthesizer which took up an entire wall of the studio, plus teac quarter-inch/half-track and quarter-inch/four-track reel machines, a teac half-inch/eight-track reel machine — the reel of tape for which, i still posess, somewhere — and a teac 8-track stereo mixer. these were relatively high-end machines, at the time). the security alarm was a motion sensor that was mounted near the ceiling, and was bypassed by putting a tape-reel box over the sensor, which meant that i could check out the key, go unlock the lab and then return the key, looking like i only spent 5 minutes in the lab. in reality, i returned the key and then went back to the lab, where i usually stayed until 3:00 or 4:00 in the morning. i knew (experience is a hard master) that, if i disloged the tape-reel box from where it was precariously hung over the sensor, i had approximately five minutes before the entire neighbourhood would be swarming with rent-a-cop demons, so i actually began using sticky tape to hold the box in place. the evening at the end of Romance With Gaslamp is one of those evenings. i accidentally knocked the box down, and so the piece ended a lot more abruptly than i planned… but after i listened to the mix-down, i decided that it would be a lot more amusing to leave it that way.

it smells really interesting, and i’d like to plant more of them in the gigantic hole left when we ripped out the bush from the top of our driveway.

let’s see if this crowdsourcing thing actually works…

ETA: it is Dasiphora fruticosa floribunda. i want at least two of them to go into the gigantic hole. thank you.

i usually wait until there’s a week or so of good weather predicted, because i don’t have a garage, and wet paint and rain don’t mix well, but it’s getting to the point where i’m busy enough, and the weather has been wonky enough, that if i don’t get started on it soon, it won’t be anywhere close to ready by the time the solstice comes around.

along similar lines, there has been talk of getting me a new car. i don’t know whether this means a really new car, or if it just means a “new to me” car that is something from this century… which is a good thing, because the current ganesha the vāhana’s transmission is acting strangely, and OCF is also coming up sooner than i expected.

i’ve got a component-stereo cassette player on freecycle, but i’ve got one person who has expressed interest, so it’s probably already taken.

i’ve got a snake suspenderz performance at a rehab center in burien. it’s a private party, which means that i’ll be paid for it, but i don’t remember how much at this point. it doesn’t really matter anyway, ’cause i’m playing and they’re paying me.

moe and i are going to a performance by ezra in honour of The PHBFH on the 17th. the place is TBA, still, but ezra sez we’re going to get notified by email before the performance, so we can be where it is. i haven’t seen The PHBFH since ezra graduated from college, which was a few years ago, but i’ve never actually talked with him about his mother, so this should be an interesting performance.

the 26th has a performance by the BSSB, but i’ll probably post before then.

oh, i’ve also got another colonoscopy scheduled on the 7th of june, and another snake suspenderz performance on the 14th of june at cafe racer.

also, moe brought home a dead hummingbird… it’s sad that it’s dead, but at the same time, it’s probably the only time i’m going to get to hold a hummingbird in my hand…

God Is Dead, Let’s Fuck

Art Is A Fart

pliny is a guy that i have known since he was about 14 or so. he is one of the best wordsmiths i have ever met. he raps in normal conversation without even meaning to. he invented a new art-form, which is called SPLAB.

these tracks were recorded in the late 1980s or early 1990s and have been lost in my box of tapes until today.

(previously, previouslyer, previouslyer, previouslyer, previouslyer)

or clean it out…

or something.

Bong

moe has decided that we are remodeling the guest bathroom, ostensibly to facilitate her mother’s coming to visit more frequently. my counter to that is that if we remodel the bathroom, her mother will be visiting more frequently. she ripostes with the fact that her mother and i can’t live in the same house, and that will prove (to her) that she has to live somewhere else… which is okay in the long run, i suppose, but i dread the period of time whose length has yet to be determined, between…

also we have to get the insulation and the vapour barrier fixed, because it’s still hanging in tatters where the plumber and the contractor tore it away…

the second time was also with the BSSB, but it was out in front, on jackson street, for the opening of the renovation of the king street station, about two years ago. we put our cases inside the upper level, which was in the process of being renovated, but it wasn’t open to the public yet. there were open beams, brickwork, and lots of dust inside, but we were actually playing outside, so it wasn’t really an issue. where we put our cases was right at the level of the “lowered” ceiling, and you could see above it, but it wasn’t much to see: a lot of cobwebs, 50 years of dust and grime, and the underpinings (overpinings?) of the suspended ceiling which was put up without concern for the artistic nature of the real ceiling.

the third time was this morning, and it, too, was with the BSSB, but this one was the “grand re-opening” of the totally refurbished king street station. they totally removed the old “lowered” ceiling, and restored the station to the way it looked 100 years ago… only with totally new electrical, mechanical, plumbing, a seismic retrofit, and a new roof on the bell tower. this time we played in the big waiting room with the new three-story-tall ceiling… which made the room uncomfortably “live” but we did admirably well in spite of everything.