Friday, May 19, 2006

msb-0020 Musical Musings & msb-0021 Sounds of Silence 0001

msb-0020 Musical Musings & msb-0021 Sounds of Silence 0001

Feed back come first.

Hello Juliana. Its always nice to hear from you. I'm glad you had a lovely day for the MS Walk in Michigan. We had rain for our in New York City. It was an absolute deluge. I didn't go out there.

It was enough that C.C. Chapman and Amanda Monaco were out there. They got soaked while I stayed dry and raised a glass to their health.

I don't know about using nutritional supplements specifically for MS and for remyelination but maybe someone out there knows.

Yo! Audience! Drop me a line. Juliana wants to know if there are any foods or supplements that you noticed make a difference in alleviating your symptoms or helping you remyelinate.

I eat fatty lamb chops but I suspect that that's just a matter of taste. (And I eat duck too, but that's out of revenge for the flu virus. :-)

Its more anecdotal than scientific but any little bit helps.

You hit the nail right on the head with your sentence "I think the worst part of the disease is that it effects a human being's sensuality, i.e. the information we take in through our five sense and therefore the very essence of humanity."

There isn't any more, but that's not necessarily a bad thing. :-)


This episode is about the selection of music on these podcasts.

The selection is poor, well maybe not so poor, but limited because I can't access my personal music collection to create these podcasts.

I am a musical omnivore.

As long as its well played, I like it;
  • Beebop,
  • blues (Mississipi Delta or Chicago style,)
  • classical, (baroque, romantic or modern,)
  • Dixieland,
  • Effin' Annie,
  • folk in almost all its forms,
  • jazz in almost all its forms, (though I don't enjoy it when it sounds like someone is blowing a sax like fist-fucking an elephant,)
  • rock in almost all its forms, (though I don't enjoy it when it sounds like someone is blowing an axe like fist-fucking the lead singer,)
  • show tunes,
  • Tuvan throat singing,
instrumental or lyrical. I like it all.

I own a great deal of it. My sixty gig iPod is stuffed and I'm waiting for Apple to come out with a one hundred twenty gigger iPod because I have over 400 vinyl albums waiting to be digitized.

And I've heard all of it.

I've got Carmina Burana "Fortuna Imperatrix Mundi: O Fortuna" playing in my ears as I type this. The first time I heard that live was at McGill university back in the seventies.

So much music that I can't share and artists that I can't promote because of the excessive greed of the RIAA, ASCAP/BMI and the rest of 'em.

I'd say screw 'em if it wasn't for their humorless phalanx of lawyers that they use as an enforcement arm.

Basically, if I don't know a piece of music is copyright free or if I don't have the specific permission from the artist, I can't take any chances.

That severely limits my selection to play from and it severily limits your selection to hear from too.

I could have themed shows with a better selection of tunes, and since I give links in all my show notes, you could be buying the artists' opus.

But that's not going to happen until RIAA, ASCAP/BMI and the rest of 'em wake up and smell the "venti latte."

They're still operating on a model of control over a scarce resource.

They try to collect whatever the market will bear at every step of the way until its impossible for someone to start a broadcast for a small market, and lets face it MS is 0.083% of the potential market. I can't afford thousands a year to get a license for music I don't want to play; the Brittany Spears and the other manufactured idle idols.

Now with podcasting, I can reach that 0.083% and the people who make drugs, products or provide services that they couldn't reach before.

The problem is that the RIAA, ASCAP/BMI and the rest of 'em are so greedy that I can't use any of my own music. I don't dare. I don't want to get my ass sued off.

So we're using podsafe music by independent artists, people who don't appeal to the mass marketers out there, or people who got fed up with having their artistic vision compromised by the record labels.

Those labels are only in business end of the music business and only care about their bottom line. To them. its a product, like a screw, and distinguishibility and individuality is not a good thing.

Its bad enough when the artist has to come up with the same sound time after time but they have to come up with the same sound as everybody else.

For the most part, the A&R people are a kind of virulent pond scum that smothers all individuality while infecting everything they touch.

"You got to have 'that sound', man. Maybe if you recorded at [insertname of studio here], [insert name of recording engineer here] could use his backup crew to give you 'that sound.' "

At that point you, as an artist, have probably already lost. You've got a contract and you're recording but its not going to be your music.

That kind of crap can only work when [insert your name] really mesh with [insert name of recording engineer here] and [insert name of recording engineer here] approaches the project with his skill but not with his preconceptions.

Then its golden; an all too rare collaboration; a melding of your skills at your instrument and his skills at the console.

Otherwise you'll be indinguishable; a homogenized product fed into the maw of the machine and shat out before the record company's next meal.

And you as an artist are paying for it.

You don't think the contract you signed before any of this came about was actually going to pay you a dime before they took all of their expenses did you?

Oh, and you've got to tour on your own dime too.

You didn't think that they were actually promoting this turkey, did you?

As far as they're concerned, you're on the hook for the x thousand copies that got spewed out of the CD press, at their rates, not at their cost.

That's why they're so screwed up with the internet.

They're confusing their product with their process.

Their product is your music, whether as artist or as audience.

Their process is to gouge you, whether as artist or as audience.

But the 'scarce resource' model doesn't apply when recording equipment is digital.

For the artist, you can record what you want, mix tracks, craft a CDs worth of tracks, or not, and put it out on the 'net.

The quality is limited by your own talent and when you say 'Enough, I wanna move on'.

Your success is limited to the appeal of your sound, and screw the A&R men.

msb-0021 Sounds of Silence

Simon & Garfunkle aren't involved.

This show is music only because I've got some interesting work to get through.

Today I thought I'd give you a rest from my ranting and just play da music, man; just play da music.

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