Trebuchet Magazine

HUBBA BUBBLE TOIL AND TROUBLE

nospam@example.com (Clifton Evans) — Wed, 08 Sep 2010 18:27:00 +0100

Michael Faraday thought that the most beautiful thing in the world is a soap bubble. One of the very very least beautiful things in the world is an economic bubble, and probably its least beautiful subset is a bubble in the art market. The only thing they share with soap bubbles is the fact that they all burst eventually. The beginning of the 21st century has witnessed an art bubble made more grandiose in its banality by decades of ‘globalisation’ and by computerisation. We have lived through a hotch-potch of manias, Ponzi schemes, pyramid schemes, unbelievable global polarisations of wealth and conspicuous consumption in the art world that would have made even Thorstein Veblen choke on his cornflakes.

As with all bubbles in human history, from the South Sea bubble in the eighteenth century to the Dutch tulip craze in the seventeenth, perception and realities have overlapped in a cankered ‘danse macabre’ so that artefacts and creations of the least value and substance in terms of both technique and depth of underlying ideas have been valorised at the highest levels within the markets. In contrast, the greatest work of our times has almost all been marginalised or suffocated before it could be made because its creators and potential creators have been forced into positions of relative isolation and penury.

In times of bubbles, all is inverted and perverted.

This process is a vicious spiral so that over time if people who have been intoxicated on bubble tea are presented with the authentic and the real they will not even recognise it because they are so used to the inauthentic and the ersatz, to the derivative and to pieces of work devoid of what Walter Benjamin called the aura of the products of the highest craftsmanship.

George Soros has created the concept of reflexivity to describe the process of feedback and interaction between perceptions and reality. If a particular artist has attained primary status within a bubble market, they will be able to offer a banana with a scribbled drawing of a diamond and their signature on and charge millions because it will be perceived within the market that all their works are necessarily of the highest economic value. Regardless of the possible abundance of the same piece of work (millions and millions of people could draw a scribbled drawing of a diamond on a banana and then sign it) it is perceived that the supreme artist has access to a level of genius that makes their works of any kind scarce and hence able to command the peak values in the market. However, there are limits to the extent to which perceptions can create realities because, ultimately, there is still something called reality which is where we all live, as real as the chair in Vincent Van Gogh’s room in Arles in 1888.

All economic bubbles burst because there are economic fundamentals that behaviour must eventually return to. We human beings can inventively tell ourselves stories and weave illusions for ourselves but we cannot transcend our lived reality. That is hubris and Prometheanism.

Now that the intoxication of the hubba bubble era is wearing off, I have decided to challenge another artist to what Thomas Middleton might have called a game at chess. If I win, I ask for £1,000,000, which I will then split into two microfinance schemes to provide small loans to talented artists on the one hand to help them go full-time and chess teachers, players and clubs on the other hand to help them go full-time. Chess is a fundamentally mathematical game and it is fascinating how high level mathematicians such as Henri Poincare and David Hilbert and high level artists unite in their perspective that beauty is at the centre of their work. Beauty may be in the eye of the beholder but from this particular beholder’s eye art bubbles, unlike soap bubbles, are uglier than any duckling ever born and uglier than the clothes worn by New Emperors. Art, like economics, is best when grounded in reality. When it is made in the desert of the real, isn’t it just a mirage? And, as Adam Smith didn’t put it in his discussions of the paradox of value, what use is a banana with a scribbled drawing of a diamond on it when you need water?

The challenge is Here
From the forthcoming “One Man Banned” exhibition:

Please note: one of the 70 and a half pieces of work in the exhibition will hopefully be a banana with a scribbled drawing of a diamond on it which will be for sale for an exchange value of £1,000,000 and will be of no use value to anybody at all. Next to it will hopefully be a glass of water with a translation of Philip Larkin’s poem “Water” into Devereuxian which is a new language I am currently creating. The glass of water will be for sale for £1,000,000.

Ephemeral Mash-up

nospam@example.com (Kailash Elmer) — Tue, 07 Sep 2010 11:40:00 +0100

07-09-10
Tripping Out - Medical Mushrooms for Terminal Patients

Anne Harding of Health.com reports that Researchers in America are looking into the effects of Psilocybin "magic mushrooms" on terminally ill patients.
Testing against a placebo found that user had a 30% reduction in anxiety regarding death reporting that "some patients said their experience with psilocybin gave them a new perspective on their illness and brought them closer to family and friends."

Each session lasted six hours where under supervision patients lay on a couch listening to music. Follow up sessions were held to assess the general mood and well being of the patient over a period of six months.

"We were pleased with the results," says the lead researcher, Charles Grob, M.D., a professor of psychiatry at Harbor-UCLA Medical Center, in Torrance, Calif. "I think we've established good grounds for continuing the research... That's the goal right now, just to develop more studies."

Health.com

06-09-10
Coulson Calls On The Met

The BBC has reported that Number 10s Communication Chief Andy Coulson is being questioned over phone hacking while he was editor of tabloid News of the World.
It has been revealed that the extent to which unscrupulous journalists have hacked phone to get scoops is much larger than a couple of isolated cases. Seemingly the practice is widespread and Mr Coulson will certainly be asked to clarify to what extent editorial staff sanctioned this sort of criminal activity.

However by far the meat of the discussion will be focussed on the allegations of former NOTW journalist Sean Hoare who claims he was expressly asked to hack phones by Coulson.

05-09-10
Ancient Woman's Record Dry Spell Remains Unbroken

The Sun has reported that an ancient woman of 106 has yet to have sex, like ever!
A readers poll voted the edition 'worst page 3 ever'.

04-09-10
Old Public Servant Shakes Off The Yolk

Former Prime Minister Tony Blair was pelted with eggs yesterday at a book signing in Dublin.
Mr Blair was signing copies of his hagiographic dossier when anti-war protesters made good on their 45 second claim of foodstuffs of mass dissent by pelting him with eggs. Slick Tone adjusted his position accordingly and none of the angry missives hit their mark however reports vary on the civilians casualties sustained during the conflagration. It is unknown whether the preemptive strikers are now to be aligned with the ovate of evil.

BBC report

03-09-10
Royal Mail Launches I-Stamp

The BBC reports:
"The Royal Mail has launched the world's first "intelligent" stamp, the first to work with image recognition technology.
The stamp, part of the Royal Mail's latest Great British Railways edition, will launch online content via an iPhone or Android smartphone.
Users place the camera over the stamp, which then launches the online content.
The Royal Mail said intelligent stamps "mark the next step in the evolution of our stamps, bringing them firmly into the 21st Century."

Seemingly the appeal might extend further than stamp collectors and train spotters. But not by much... the technology however is an interesting example of Augmented Reality reaching large businesses. However whether for basic users this will encourage smartphone owners to post letters instead of email is doubtful. An interesting feature might be for users to create their own 'stamps' and place them inside the letter. Matching both the awesomeness of receiving a written letter with a bit of video content would make sunny holiday missives that much more annoying for the workers back in the office.

BBC news

02-09-10
Breast Cancer Awareness Program Rankles Teachers

A new breast cancer Bracelet aimed at raising awareness and promoting regular checks has created a bit of a tizz in the US.
ABC reports that the Bracelets reading 'I *heart* Boobies' have become a hit with kids throughout the US with many teachers saying the suggestive slogan violates school dress codes.
Of course, the precocious kids are claiming that it is their first amendment right to free expression. How long one wonders till the bracelets read 'I *heart* 8008135'.

24-08-2010
Iran unveils 'Thunderbird' drone

Iran frinally unveils it's 'new messenger of death for peace'
Following on from the story in Haaretz.com last year that Iran were making their own drone we finally get to see the result.
The drone will apparently be able to neutralise enemies weapons despite its somewhat Jetson era aesthetics.

Pics at BBC:
Haaretz Article from 2009,with comical Irani photoshop blunder.

23-08-2010
Revelations of Deceit
Two stories have come to the fore today: A rugby player is facing further public humiliation after using a blood capsule on the field to allow another player to take a crucial goal and in other news X-factor has been accused of using auto-tune to make various performances either better or worse.
It's up to the reader to determine which is the greater travesty however Rugby deceit latterly involved a GP who cut the lip of the rugby player to add weight to his claim that he had cut his lip.

Read more here:
Rugby @ BBC news
X-factor @ BBC News

21-08-2010
Dutch Painting Stolen, Authorities Baffled 'My 3 year old could do that'

The BBC reports that the Egyptian cultural minister has spoken to world's press and confirmed that a Van Gogh, stolen from a Cairo museum is still missing.
The painting was apparently cut from its frame during a daring heist.
Given the setting, the painting - previous stolen in 1978, and the nationwide search for the thieves its not impossible that Hollywood will 'find' the painting quite soon. Or at least a certain French master of disguise.

20-08-2010
Snoop Dogg in Mafia Related Armoured Car Explosion

Yes you heard that right. Snoop Dogg is implicated in a Mafia related armoured car explosion in Les Vegas.
Publicity hungry social gaming company Zynga promised to blow up an Armoured car when it's game Mafia Wars reached 10 million users.
However, they went one better by hiring Snoop Dogg to detonate the car in Nevada which can be watched live from their website at 6pm, Thursday US Standard time.

It's heartening to see old style publicity stunts of this kind, has this put the concrete shoes on guerilla based irony? At least now Zynga will be able to say it's involved in Waste Management with a half conspiratorial grin. Gregory Kane of the Washington Examiner would no doubt disagree with this level of glorification of gangsterismness and given the penchant of silly people to do silly things with that many players we may be seeing a social gaming related felony soon.

19-08-2010
Zombie Ants Live Amongst Us

The Guardian reports a finding by Archaeologists that found evidence there is a type of fungus which infects the ant's 'brains' and makes them stagger to their deaths.
Once infected, ants stagger about before finally latching themselves on the underside of a leaf and dying. The mandible of the ant remains locked after death and the leaf then grows specific dumb-bell scar tissue around the bite.
There is fossil evidence to suggest that this fungi have been controlling ants to aid propagation as far back as 45 million years ago and is one of the rare examples of parasitic organisms manipulating their hosts behaviour.

Guardian
Pub Med Scientific Article

18-08-2010
Israeli Soldier Caught on Camera is Not to Blame

Eden Aberjil, took an innocent picture of herself on camera with a couple of guys she knew from her old workplace, puts them on Facebook and suddenly she's an internet celebrity.
Unfortunately she was a member of the Israeli Defense Force and her colleagues were blindfolded prisoners. So, there is like, you know, certain ethics involved. Still the vivacious 'cyber-hotty' remains upbeat. Speaking to Israel's Channel 2 TV she says:
"Aberjil has taken a defensive tone in interviews with Israeli media, insisting she did nothing wrong and saying she was surprised she had offended anyone.
"I still don't understand what's wrong,"
"I have nothing to say sorry about. I treated them really well, I didn't abuse them, I didn't curse them, I didn't humiliate them. I merely took a picture near them."
The men were caught sneaking across the border to find employment. Aberjil said that she took the picture because they were the first people from Gaza she'd met'.
The Palestinian Government Media Centre has issued a statement saying: "This shows the mentality of the occupier, to be proud of humiliating Palestinians ... It should end, and Palestinian rights and dignity be respected."
It was not clear whether Aberjil, from the port city of Ashdod, would face disciplinary action over the incident as she completed her compulsory military service in 2008.
Asked whether the images could damage Israel's image, Aberjil said: "We will always be attacked. Whatever we do, we will always be attacked."

Original story new.com.au Read more:

13-08-2010
Bristol Balloon Show Takes Off
With 81 balloon preparing to take part in this years Bristol International Balloon fiesta there was some anxiety when strong winds delayed the start.
Weather is currently fine however with showers expected later weekend. It is indeed 'time to rise'.
(Trebuchet will be at Bloodstock Metal Festival this weekend - say hello, get involved)

12-08-2010
Pakistan's Prime Minister Visit's Flooded Areas
Pakistani Prime Minister has finally visited some of the most affected areas of his country.
Since the floods began the BBC reports that it has affected 14 million people and ledt 1,600 dead.
Throughout this national disaster the Prime Minister and the government as a whole has been receiving strong criticism:

"Mr Zardari was bitterly condemned at home this month for setting off on visits to the UK and France as the floods were beginning.
While the military's relief efforts have been praised, victims of the disaster have lashed out at the government's response, and some politicians visiting flood-affected areas have come under physical attack."
BBC News

Apparently electorates have strong emotional reactions to viewing their politicians on disaster scenes quickly; remembering New York Mayors Guiliani, Katrina's George Bus, and now Pakistani President Asif Ali Zardari.

09-08-2010
Israel's PM says Flotilla Raid was Lawful
Israel's PM Benjamin Netanyahu has told an inquiry that Israel "acted under international law" when it boarded a flotilla of ships taking aid to Gaza in May.
Arguing that conducting a military action in international waters was 'preventative' in stopping arms reaching Gaza.
Similar to the rhetoric used to justify the invasion of Iraq in both cases the supposed weapons were not found with casualties resulting from the conflagration.
Since the attack on the flotilla Israel has allowed more aid ships to deliver supplies to Gaza and it is supposed that international tribunals and inquiries will be more critical of Israel's action in the future.
Turkey is holding it's own tribunal into the events of May but it is unclear what action, if any, will be taken following the outcome of both tribunals.

BBC coverage

07-08-2010
Muslim's Hold Anti-terror camp

A Muslim group is holding a camp for young muslims to learn clear koranic denunciations of extremist Jihadism.
Around 1000 young people are expected to attend the event in coventry where leading scholars will discuss some of the prevalent attitudes for extremism and put forward arguments against.
The BBC reports that:
Minhaj ul-Quran, the international organisation set up by Dr Muhammad Tahir ul-Qadri, argues that many traditional Muslim organisations have been too timid in taking on jihadist ideology, unintentionally leaving youngsters bewildered and susceptible to brainwashing.

Original Story by BBC news

06-08-2010
Last South African Reserve's Rhino Killed

The Star reports that Poachers have killed the last South African rhino in the Krugersdorp Game Reserve.
Using a helicoper to track and tranquilize the rhino the poacher's then used a chainsaw to saw off the horn.
"Rhino horn has been used for centuries in Traditional Chinese Medicine, although tests reported by National Geographic have shown that it has no special properties and is similar to a fingernail."
It is thought that the horn will make it's way to market in China and Vietnam where the horn is worth more per ounce than gold despite scientific evidence showing that the horn's properties are identical to that of a fingernail.

Original story by
Lesley Ciarula Taylor, Staff Reporter, The Star.
Meet Ted Riley - He kills Rhino Poachers

04-08-2010
Water Sanitising Bottle Nominated for Dyson award

Water sanitation is a massive issue around the world from disaster areas to impoverished areas globally.
The BBC reports that Timothy Whitehead, a design and technology graduate from Loughborough University, has been nominated for a James Dyson award for his clean water bottle.
The bottle works by filtering water particles as small as four microns to a second chamber where a wind up ultraviolet light sterilises the water ready for drinking.
The whole process can take as little as two minutes to complete and provides clean water without the bitter taste associates with chlorine or iodine tablets and 99.9% effective in eradicating bacteria and viruses.
Timothy hit on the idea when travelling through Zambia and would greatly improve the living conditions of those living in hostile environments around the world.
read more:

03-08-2010
Angry Man in Bristol Grabs Helicopter

The BBC reports that a man in Bristol angry that a helicopter repeatedly lands in a park adjacent to this house ran out kicked the aircraft , threw rubbish at it and grabbed onto the helicopter's skid bars as it tried to take off.
Apparently the helicopter continually blew dust and debris over his range rover as well as being a general disturbance to the neighbourhood.
The man was arrested and sentenced to one year's jail time despite having a business and a family to support.
It was not clear why the helicopter pilot continually picked up passengers from the park or whether it was legal to do so.
read more:

02-08-2010
’Lesbian’ Sisters convicted after fatal stabbing of boyfriend

According to news.com.au the Manchester family of a man stabbed to death are outraged by British justice calling it 'a joke' after two 'callous' sisters were jailed for four and five years.
Samantha Brown stabbed boyfriend Dean Darvill, 23, in the groin with a kitchen knife after he accused her of having a lesbian affair.
’The blonde-haired sisters sobbed as they were sentenced while friends and family of Darvill shouted 'murderers' and 'I hope you die' from the public gallery as they were taken down’
Mr Darvill, whose relationship with Samantha has been described as 'tempestuous' had argued with her when he saw the two sisters and another girl in a bedroom together during the party on January 9 this year.
The argument escalated in the kitchen where Samantha took a kitchen knife and attacked Mr Darvill, who was being restrained by the older sister at the time.
News.co.au describes how ‘Samantha fled but Toni, although she tried to stem the bleeding, refused to call or allow anyone else to call an ambulance for the next hour despite other party guests pleading with her to dial 999.
She even said she had recently stabbed her own boyfriend and he had needed 'only five stitches'
Eventually Toni Brown relented and called 999 just after 3am but it was too late and Mr Darvill died of blood loss.
Story from News.com.au, Read more:

29-07-2010

Court decrees ‘Protesters' rights were violated by Met surveillance’

The Evening standard reports that three men told journalists they were "made to feel like criminals" after being arrested for obstructing a policeman taking photographs of people attending a meeting at a community centre.
Alex Clay, Jeff Parks and Barney Laurance are said to be overjoyed now that their convictions have been overturned by a judge who ruled that their human rights had been breached.
The three men were arrested when they had unfurled a banner blocking surveillance photographs and video being taken of anti-capitalist campaigners entering and exiting a No Border’s Meeting at Pullens Centre, Elephant and Castle.
Speaking for the first time since the appeal verdict on Friday, Mr Clay, 23, a member of the group Fitwatch, which monitors the Met's Forward Intelligence Team said: "People who are going about totally legitimate, lawful forms of protest and activity are being made to feel like criminals and recorded and monitored by the state for no reason.
"We challenged the legality of the officers' actions and then got a Fitwatch banner and held it up to prevent them getting shots of people coming in or out. We refuse to accept the logic that just because someone attends a protest that they are a criminal."
The men were originally arrested and convicted in June 2008 on the charges of ‘obstructing police officers or police photographers’, and subsequently ordered to pay around £2,000 in fines.
A Scotland Yard spokesman reporting to Evening Standard made a statement:
"Fit teams are something that have been around for a long while and are an overt tactic at high-profile demonstrations and events. They are there so that if people get out of hand then the evidence has already been gathered."
The question remains as to what happens to the information gathered on peaceful protesters and whether or not it has been instrumental in any worthwhile arrests.

Original story by Mark Blunden/Evening Standard

28-07-2010
Enraged Woman Driver Flashes Other Driver

An American woman in St. Petersburg, Florida angered while driving on the St. Petersburg side of the Howard Frankland Bridge, bared her chest in anger.
According to local news sources the hysterical woman jumped out of her vehicle, mounted another motorist’s hood and started revealing herself.
On the arrival of the local police force the topless woman ran through traffic dodging the pursuing officers.
On emergency crews were detained on the bridge for an hour before the woman was finally taken into custody.
It was reported that one side of the bridge was blocked for some time following the incident presumably as drivers tried to make sense of this bizarre occurrence and the remainder of their lives.
Fox news network (no pictures)

22-07-2010
G20: No charges over Ian Tomlinson demo death

The BBC reports that the Director of Public Prosecutions Keir Starmer has made a statement regarding the dead of Ian Tomlinson, 47, caught up in the clashes on 1 April 2009 in the City of London.
“there was no prospect of conviction because experts could not agree on how Mr Tomlinson died.”
Mr Starmer said there was a "sharp disagreement between the medical experts" about the cause of death, which led to three post-mortem examinations being conducted on Mr Tomlinson.
The first examination by Dr Freddy Patel - currently under investigation for alleged misconduct over four unrelated post-mortem examinations - found he died of natural causes linked to coronary artery disease.
Mr Tomlinson, a newspaper seller who was not involved in the protests, was walking home when he was caught up in the demonstration.
Read More: BBC news website

21-07-2010

I-Dosing: How teenagers are getting 'digitally high' from music they download from internet

They put on their headphones, drape a hood over their head and drift off into the world of ‘digital highs’.

Videos posted on YouTube show a young girl freaking out and leaping up in fear, a teenager shaking violently and a young boy in extreme distress.

This is the world of ‘i-Dosing’, the new craze sweeping the internet in which teenagers used so-called ‘digital drugs’ to change their brains in the same way as real-life narcotics.

They believe the repetitive drone-like music will give them a ‘high’ that takes them out of reality, only legally available and downloadable on the Internet.

The craze has so far been popular among teenagers in the U.S. but given how easily available the videos are, it is just a matter of time before it catches on in Britain.

Those who come up with the ‘doses’ claim different tracks mimic different sensations you can feel by taking drugs such as Ecstasy or smoking cannabis.

The reactions have been partially sceptical but some songs have become wildly popular, receiving nearly half a million hits on YouTube.
Under one called ‘Shroom’, Berecz wrote: ‘just listened to this... at the beginning I began to see some blinking light (while eyes closed), then the pitch went up and I began to feel that Im sinking into my chair...as the pitch went down I began to feel confident, and very relaxed, and I dont want to stand up from my chair and I dont want to say any words...’
Not everyone is taking i-Dosing seriously - some YouTube videos show young adults ‘i-Dosing’ on Neil Diamond and mocking the whole phenomenon.
But there has been such alarm in the U.S. that the Oklahoma Bureau of Narcotics and Dangerous Drugs has issued a warning to children not to do it.
‘Kids are going to flock to these sites just to see what it is about and it can lead them to other places, spokesman Mark Woodward said.
He added that parental awareness is key to preventing future problems, since I-dosing could indicate a willingness to experiment with drugs.
‘So that's why we want parents to be aware of what sites their kids are visiting and not just dismiss this as something harmless on the computer.
‘If you want to reach these kids, save these kids and keep these kids safe, parents have to be aware. They've got to take action.’
Story by Daniel Bates for DailyMail - Read more:

Sample some yourself, remember two tone pass

20-07-2010
'Age lie' former Miss Cornwall takes Plymouth title

Laura Anness Laura Anness will go on to compete in the finals of Miss Great Britain
A teacher stripped of a beauty queen title for lying about her age and where she lived has won another competition in a neighbouring county.
Laura Anness won Miss Cornwall 2010 after claiming to be from Saltash and aged 22 - the upper age limit is 24. She was actually 27 and from Devon.
Ms Anness was stripped of the title, but has now won Miss Plymouth City, which has a higher age limit.
She said she lied about her age to "prove a point".
Ms Anness will now compete in the finals of Miss Great Britain in November.
Discrepancies about her age came to light when it was discovered she had put her age as 22 on entry forms to enter Miss Cornwall in 2006, 2007, 2008 and 2010.
Ms Anness, who lives in the Stoke area of Plymouth, said: "I wanted to prove a point and to get the organisers to up the age limit because there are so many great women out there who are not eligible to enter the competition because they are older than 24.

"I had my eye on both contests and was really pleased when I was crowned Miss Plymouth City - competitions like these aren't just about looks, they are also about people's personalities and are an opportunity for women to showcase what they have achieved."
BBC News Website:

19-7-2010
David Cameron launches Tories' 'big society' plan

David Cameron: "I think we're onto a really big idea, a really exciting future for our country"
David Cameron has launched his "big society" drive to empower communities, describing it as his "great passion".
In a speech in Liverpool, the prime minister said groups should be able to run post offices, libraries, transport services and shape housing projects.
Also announcing plans to use dormant bank accounts to fund projects, Mr Cameron said the concept would be a "big advance for people power".
Voluntary groups and Labour have queried how the schemes will be funded.
The idea was a central theme in the Conservative general election campaign and Mr Cameron denied that he was being forced to re-launch it because of a lack of interest first time around.
While reducing the budget deficit was his "duty", he said giving individuals and communities more control over their destinies was what excited him and was something that had underpinned his philosophy since he became Conservative leader in 2005.

"There are the things you do because it's your passion," he said.
"Things that fire you up in the morning, that drive you, that you truly believe will make a real difference to the country you love, and my great passion is building the big society."

BBC Website News: http://gu.com/p/2te7e

17-07-2010
Willetts warns graduates: if you can't get a job start a business
Universities minister says students leaving higher education should rethink what they consider to be a graduate career

Students leaving university this summer should cast off "old-fashioned" ideas about what constitutes a graduate job and instead consider starting a business, a government minister has said.
David Willetts, the universities minister, told the Guardian that thousands of young people leaving higher education this summer to compete for jobs should rethink what they consider to be a graduate career. He said: "I think one of the interesting pieces of evidence is that, although graduates don't always start in a so-called graduate job, they then have a good chance of moving on to one.
"The other point I'd make is that we have some odd definitions of what constitutes a graduate job. The most vivid example of that is that setting up your own business does not constitute a graduate job.
"The way in which the statistics define a graduate job is very old-fashioned ... it is out of touch with people's aspirations – a lot of people do want to run their own business."
He gave the example of a group designers from an art college who set up in business, but were not counted as going on to graduate jobs.
Mike Hill, chief executive of Graduate Prospects, which offers careers advice to students, graduates and universities, said that Willetts was right, and "getting any job is better than no job at all". University leavers had to be more flexible in the current climate, Hill said, even if that meant starting on the shopfloor.

"If you have the wherewithal, the capacity and the curiosity for hard work, and are pushy, you can be promoted very quickly indeed. You might start off as a waitress in a cocktail bar, and find yourself with a career in hospitality."

By Jessica Shepherd, Jeevan Vasagar
Guardian: http://gu.com/p/2te7e
TISM - Lets Form a Company

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7 Mistakes a Creative Musician Should Never make

nospam@example.com (Kailash Elmer) — Sun, 05 Sep 2010 12:51:00 +0100

• 1 – Don’t make boring music!
There’s enough dull, average, run-of-the-mill stuff out there – let the stuff you write fall into the other categories…the ones like “exciting” and “outstanding” and “extraordinary!”.
Many of the other problems associated with being a musician (finding fans, getting exposure, promoting, marketing, branding, being able to afford breakfast etc) magically disappear if you make incredible, outstanding, unique, mind-blowing music.

• 2 – Don’t do it how everyone else would!
Trust your own tastes, inspirations and ideas. Don’t worry about whether people will think it’s weird or “wrong” – follow your instincts and do what seems right to you. The more you stay in tune with what you feel is right, the more “you” your music will be…and that will me it’s less like my hypothetical “everybody else”

• 3 – Don’t be dishonest!
If you try to write music in a style that you don’t like, just for the temptation of cash monies…think twice about it. It might work for a while but the situation is doomed to fail. You won’t be that interested in writing it – and that will come across in the music eventually. You also won’t devote yourself to it, which will affect how you present it, promote it, talk about it…everything. It will also be a waste of your abilities in the end. You’re a superhero – use your powers for good, or risk becoming Zod!

• 4 – Don’t play it safe!
There’s loads of safe music. It doesn’t have anything too unexpected in it. It doesn’t have any surprises in it. There’s no risk in it. Does that sound like your idea of a good time?

• 5 – Don’t put things out unfinished.
If it’s not ready to your satisfaction, it’s not for other people ears. Your music represents you, and I’m sure you don’t go out to dinner half-naked. Don’t send your music on a first date with it’s hair messed up and dirty clothes on. Scrub up, shave the hairy bits, spray on a nice smell and make a good first impression!

• 6 – Don’t accept second best
You ever seen a performer on stage say something that implies they are not giving it 100%? It turns the audience against them in a second. I saw a guy (who’s quite famous) tell the crowd that he didn’t really want to play this venue but was forced to because of his contract. He got booed for the rest of the show. He didn’t want to perform for us, and we knew it. Don’t give an audience your second best effort, they will know.
You should never put yourself in the position of feeling like you have to say sorry to your fans.
Put right any flaws in your music before it’s let loose on the public…..unless (here’s my usual “exception that proves the rule” bit) the mistake adds something to the music. It might be a humorous outtake…or a mistake that improves a track…but if there’s a benefit for the listener then consider keeping it in. Otherwise…nuke the mistake! Nobody want to hear them!

• 7 – Don’t Stop Believing
Not the crappy tv show!
I mean don’t let your self esteem drop. Everyone has doubts and worries about what they are doing, especially after knock-backs. When it comes to the crunch, your uniqueness is assured, it’s just finding the most effective way of expressing it to others that is the problem. Never doubt that you can do it…if you fail, then learn and try again, better. Never give in and never give up.
Failing gives you vital lessons…the only true failure is not learning from mistakes.

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: vitasamb2001 / FreeDigitalPhotos.net

Ian Hawgood + Talvihorros + Tom White

nospam@example.com (Kailash Elmer) — Fri, 03 Sep 2010 13:10:00 +0100

Review forthcoming... was great!

Please note the venue has now changed to
The Birchcliffe Centre, Birchcliffe Road, Hebden Bridge, HX78DG

8.00pm, entry is £5 on the door. The Birchcliffe centre is an old Baptist Chapel.

Hibernate celebrates it's first birthday with a night of static, decay and bursts of melody featuring...

Ian Hawgood
Ian Hawgood needs no introduction. He has released an enormous number of releases under different monikers on countless labels, free mp3’s as well as physical releases. And besides that musical output he also runs three labels, home normal, tokyo droning and nomadic kids republic. Ian enjoys making music using piano, pump organ, mellotron, vibraphone, rhodes, guitar, old tube amps and other mostly vintage equipment.

Talvihorros
Talvihorros is an experimental composer from London, UK exploring the possibilities of the guitar. His compositions venture into the fields of ambient, experimental, drone, post-rock and folk but dont fall into the cliches associated with any of these genres. Old and broken equipment and recording techniques are favoured over new and modern tools. Both acoustic and electric guitars are layered with organ, synthesizer, mandolin, radio frequencies and various percussion instruments to create dense collages of sound, sometimes melodic, sometimes challenging but always captivating. Live Talvihorros performs solely with electric guitar and effects pedals.

Tom White
Born in 1986, Tom White is a sound and visual artist currently based in London. Working with found sounds, tape collage, mic feedback and fragments of instrumentation, to create composition, sound art and film sound. Tom also works with video and photography, often combining all practices.

Was Ist Das Soundsystem

Spinning a mixture of ambient & drone between sets.

999 is the emergency code in the UK

nospam@example.com (Kailash Elmer) — Fri, 27 Aug 2010 14:39:00 +0100

I do not know who was responsible for the events of 11th September 2001. I am not going to state that I do know, and state who it was, because I do not. What I do know is that the events of that day, which I watched on television screens whilst working at a television company in London, have had profound ramifications on the near-decade that has followed since. One of the ramifications on a personal level was that quite rapidly that event and the reportage of it, along with other experiences, made me realise I did not want to work in contemporary mainstream media.

The question of who was responsible for those events matters enormously. It has been one of the most important questions of our times. There has been an enormous amount of talk and speculation about it and yet the events of that day still hang over our world like a shadow. The latest controversy over what should be built on the site of the former World Trade Centre is, merely, yet another episode in what has been nine years of controversy, contention and conflict, with the event having been used as the justification for an era that some branded the ‘war on terror’ and others branded the ‘long war’. That ‘long war’ has already been quite long enough.

As the events of 11th September 2001 pass into history it becomes easier, psychologically and collectively, to cope with them. The events of that day are, ever more rapidly, becoming part of history, though scars remain. It is a good time for us to have what the Americans might call ‘closure’ on the matter. Collective discourse, conversation, debate and discussion has been hugely and negatively affected by the events of that day. One of the most pernicious aspects of the poisoning of the period after it included the confusion of the process of asking a question and making a statement. Asking a question, whether it is “was the US government responsible for the event?” or “was the US government not responsible for the event?” or “was the US government partially responsible for the event?” is not the same thing as making an assertion.

Of course, questions can be leading. Simply focusing on one aspect in the formulation of the question might possibly mean that we have an underlying bias in our view of the matter. If, for example, I ask “was the US government responsible for the event?” I might perhaps show that I think there was a higher probability than 50% of this being the case, whereas if I ask “was an international terrorist organisation in no way connected to the US government responsible for the event?” then I might perhaps show that I think that that postulate has a higher probability than 50%. However, this is not necessarily the case. A free, open, pluralistic discourse would allow the space to ask as many questions from as many angles as possible without them necessarily being interpreted as statements masquerading as questions..

It was notable that those people who even asked the question about US governmental complicity were instantly described as ‘conspiracy theorists’ as a pejorative. This was language used to limit and remove debate. Everybody who has expressed any view on the matter is a conspiracy theorist in the sense that they all refer to some possible set of people having conspired to create the event in question (unless one assumed it was created by extraterrestrials or something similar). A discourse divided into ‘conspiracy theorists’ who are scapegoated and vilified and their opponents is not a healthy discourse. It is a polarised discourse where people talk ever more loudly and listen ever less to what each other say.

As I say, I personally do not know the answer. Socrates said that he knew that he knew nothing. I do not, however, automatically assume that any narrative I have been given from any source is absolutely correct. I am therefore attempting, as best as I can, to apply a kind of scepticism derived in part from David Hume. Increasingly, as those sad events pass into history, and as the shadow of them passes away from our planet, I am finding that I am interested in all sorts of other questions to a far greater extent to the point where that question is moving from being a first level one to a secondary one in terms of priorities. I do not have the personal time or energy to explore the matter by reading as many documents from as many sources as possible in what Edward Said described as the ‘humanistic’ method of reading, assessing and analysing. I try to simply keep as open a mind as possible on the matter. However, it would be beneficial for us all as human beings for the matter to be resolved as clearly as it is practically possible, and for it to be put into history. A vicious spiral of problems and false discussions has come out of the events of that day, and that too should be put firmly into the history books, whatever the realities of that day itself. Historians often have the advantage of detachment and hindsight and perhaps we are now finally moving to the point where the matter can be referred to them.

It is time to move on.

By Matthew Devereux

Bloodstock – UKs legendary Metal festival returns

nospam@example.com (Clifton Evans) — Thu, 26 Aug 2010 18:33:00 +0100

Bloodstock – UKs legendary Metal festival
Catton Hall, Derbyshire from 12th – 15th August.

A heavy metal festival. Oh god the teenage years wasted with headphones on have come rushing back! The noise, anthemic melodies, the acts of testosterone daring and questionable humour all heady stuff and outside the reproachful gaze of parents or girls. Mentioning teenage kicks would be too punk for the audience but you get the idea.

Meshuggah kicked ass on the first night. They are without a doubt one of the most influential bands of the last decade and performed a solid rocking set. Knowing the tracks forward and back I’d have to say they almost seemed out of time for the first song – possibly their greatest – Rational Gaze. However they quickly kicked into gear and the rest of the set blazed through. The crowd didn’t move much but stunned awe turned to rabid applause between songs and the set ended with ears ringing to the sound of earnest eyed boys declaring hand on heart that THAT was the greatest performance EVER.

Modern metal seems to me to be at the forefront of mixing performance with musical progression and Bloodstook featured a lack of ‘classic’ rock acts with their cliché stage antics. Every performance contained either a knowing irony or a real sense of musical knowledge. Performance wise the acts generally took cues from the Springsteen school of sincerity.

Amongst those most at home in themselves was Devin Townsend. Devin is simply a master of his art and an amazing rancoteur/performer. What started with Meshuggah carried on with Devin whose powerful set was played a wholly appreciative festival.

In a similar vein the modern sounding Gojira wowed audiences with their take on the stop start poly-sounding vibe. But the heart of the festival had to go to Evile, a one time Metallica cover band, who as one punter told me ‘are the band that Metallica sound have become!’ (i.e Puppets era and more). Mirroring the death of cliff burton their bass player died of a brain aneurysm and this was one of the first outings with the new bass player. Eulogies made and commerative performances followed. To those that hadn’t heard the band before many new converts were made, myself amongst them.

Of the progressive acts there seems to the a distinct differentiation between the opera-y bands and the crunch heavy crew. Opeth played a weirdly orchestral set that had many many fans, I personally found it a little hard to get into and almost alienatingly bland. I have been assured that I need to give some of the recordings time but one the strength of the bloodstock performance this isn’t a strong possibility. Unrepentantly Scandi were the Children of Bodom, whom I expected to be more of the Opeth-esque pomposity. How wrong I was. They are fucking amazing and blistering live.

The final word has to go to GWAR, comic rock veterans with a deeply political bent (and reportedly Stanley Kubrick’s favourite metal band) brought it to another level. Consumately extraterrestrial and awesome there isn’t much more to say really. Unless you were covered in blood you weren’t there.

Done and in recovery till next year.

Supporting Diversity in music, fighting the anodyne, putting two fingers inside the festering sore of mainstream music - Bloodstock is back again!

This year’s line up includes:
OPETH : CHILDREN OF BODOM : FEAR FACTORY : TWISTED SISTER : MESHUGGAH : CANNIBAL CORPSE; DEVIN TOWNSEND and GWAR.

One part sideshow to two parts heavy metal bloodstock festival looks like it’ll be a fascinating weekend of crazed fun and sub-cultural weirdness. Come all yea faithful indeed.

Bloodstock Official Website

PRESS RELEASE:

2010 will see Bloodstock festival celebrating its 10th Anniversary, marking the
most impressive event in the festivals history, with the legendary HEAVEN &
HELL, CHILDREN OF BODOM/FEAR FACTORY (co-headline) and TWISTED SISTER
confirmed as headline acts.

From its humble beginnings at the Assembly Rooms in Derby in 2001,
Bloodstock has since grown into the biggest independent metal festival in
the UK, held at the picturesque location of Walton on Trent in Derbyshire.
Bloodstock organisers promise to celebrate the festivals 10th Anniversary in style
showcasing the strongest line up in the festivals history, and it’s already shaping
up that way, with a wealth of the biggest names in the world of metal already
confirmed.

With a taste for the best metal and heavy rock acts from these shores and
across the globe, you can expect some 10,000 metal heads descending on
Derbyshire in August 2010 for a weekend of unadulterated full on Heavy Metal!!!
Boasting over 80 international rock and metal acts across three stages, a
huge international metal market, the infamous late night metal Karaoke, BOA
is a must for any fun loving metal fiend. Add to this fair ground rides, ‘The
Bloodstock Arms’ festival bar (serving real ale no less!), full weekend camping
and - for those of you who need those extra creature comforts - VIP camping
with access to the ‘Serpents Lair’ backstage bar. You can also meet your
favourite bands at the Bloodstock signing tent, all in the most amazing
atmosphere at the biggest metal gathering in the UK. Metal brethren at your
marks, miss that at your peril!

The BLOODSTOCK OPEN AIR METAL FESTIVAL 2010 will take place at Catton

Hall, Derbyshire from 12th – 15th August.
Weekend tickets are on sale now at www.bloodstock.uk.com

BAND LINE UP SO FAR
OPETH : CHILDREN OF BODOM : FEAR FACTORY : TWISTED SISTER : MESHUGGAH :
OBITUARY : ROSS THE BOSS (with Scott Columbus) : RAGE : ANDROMEDA
: BEHEMOTH : DEVIN TOWNSEND : DORO : LEAVES EYES : SUFFOCATION :
CANNIBAL CORPSE : KORPIKLAANI : GWAR : AMORPHIS : GOJIRA : SONATA ARCTICA :
GORGOROTH : BLOODBATH : BLACK SPIDERS : EDGUY : ENSIFERUM : ONSLAUGHT
SNAKEBITE : HOLY MOSES : BENEDICTION : ENFORCER : KILLING MACHINE :
THE PROPHECY : STEELWING : REGARDLESS OF ME : WITCHSORROW : EVILE :
BONDED BY BLOOD : MORDECAI : PURIFIED IN BLOOD : DESECRATION :
POWERWOLF : HOSPITAL OF DEATH

The Ballad of E.F.Schumacher and the WOMAD Stall holder

nospam@example.com (Clifton Evans) — Wed, 25 Aug 2010 14:20:00 +0100

Womad 23rd to 25th July
Charlton Park , Wiltshire.

Justice relates to truth, fortitude to goodness, and temperantia to beauty; while prudence, in a sense, comprises all three. The type of realism which behaves as if the good, the true, and the beautiful were too vague and subjective to be adopted as the highest aims of social or individual life, or were the automatic spin-off of the successful pursuit of wealth and power, has been aptly called 'crackpot-realism'.
- E.F.Schumacher, Small is Beautiful: A Study of Economics as if People Mattered. 1973

People go to festival for the stories. They start packing with the idea of taking all the things they’ll need for their adventures, be it drugs, condoms, their lucky pulling pants or a fine Costa Rican blend. These stories are all ideas that come more or less to fruition over the course of weekend, shared by people with a common premise however widely divergent those ideas manifest.

WOMAD is an emotive festival of which music becomes the focus at varying degrees at various times. Partly ecological fayre, part activistic showcase, part global awareness program a lot more goes on around the stages than is commonly publicised. It is these festival side events that show the tone of the festival and the aesthetics of these micro-stages create for the audience the material and ideological basis of their weekends as well as providing the backdrop for the audience to play out their stories with each other. The main performance played out by political campaigners and local produce burger is unified ‘Small is beautiful’.

The political make-up of the festival resounds with guardian readers, people who do good and believe themselves ignorant of the minutiae of larger global issues but well versed in the broad strokes of global affairs. While the bands play, in a myriad of areas other needs are catered for, from traditional massages to Reiki, from pamphleteers of global crises to local organisations with local issues. Overtly the appeal of the field situated WOMAD for the seasoned suburbanite is more than musical. WOMAD allows people to delve into the more grassroots concerns and perhaps gain some insight into ways that they can do better in their day-to-day urban lives.

The world at large is in a bad state and festivals for a long time have been seen as an idealistic escape from the normal and into the realms of possibility. Separated from work and home-life a good summer festival is bathed in a golden light. Either through preparation or expendable cash the festivalgoer is separated from the need to produce and easily settles back into the loving embrace of fetterless consumption. WOMAD is no different in this respect however the theme of capital and political conscience underpins everything from music to massages. Behind this conscience lies the blueprint Small is Beautiful written in 1973 by economist turned Buddhist E.F.Schumacher.

The relevance today of the Small is Beautiful (1973) doctrine is in questioning the rationale of businesses being ‘too big to fail’ A claim which once heralded the perennial stability of blue chip companies has now been overturned. ‘Too big to fail’ as we have been made painfully aware signals apocalyptic overtones of widespread social collapse should such a business fail. Just as we are being asked to cover the mistakes made by these financial institutions there is increased pressure from the public to make those responsible accountable. The term ‘witch hunt’ may be tempered to mean making those who once personally profited from leading banks into this financial mess be compelled to make restitution in excess of ‘bad luck, try again don’t forget to collect your bonus at the door’. However the answer it seems isn’t so much bad individuals as systemic issues based on bad codes of practice. WOMAD isn’t a true social microcosm since the punters aren’t producing however the small businesses and charities present an attempt at working within the Small is Beautiful doctrine.

Everywhere people ask: 'What can I actually do?' The answer is as simple as it is disconcerting: we can, each of us, work to put our own inner house in order. The guidance we need for this work cannot be found in science or technology, the value of which utterly depends on the ends they serve; but it can still be found in the traditional wisdom of mankind.
- E.F.Schumacher, Small is Beautiful: A Study of Economics as if People Mattered. 1973

In context Schumacher’s Buddhist Economics is deeply relevant to the world music movement; yippy politics, globalisation and ethnic artistry have worked together for some time. However looking at the central concepts of Schumacher’s work in relation to WOMAD 2010 there are some interesting contradictions and revelations.

1. Man is small, and, therefore, small is beautiful.

There is a welcoming space for the smaller scale economic enterprises at WOMAD from glass blowers to local produce. Jamie Oliver is a potential exception as his commercial reach extends further than most others. One could also argue that his profile is also not small, his media presence once omnipresent in the UK has with employ of tactical PR teams become more select and arguably more effectively global. It might well be possible that he is taking this concept onboard and certainly he has championed ethical produce for some time and even changed the practices of some of the larger supermarket chains. Musically, WOMAD brings in high selling artists to delight of the audience who are in themselves part of commercial enterprises (record companies) larger than those Schumacher would endorse (Universal).

2. A Buddhist economist would consider the capitalist approach excessively irrational: since consumption is merely a means to human well-being, the aim should be to obtain the maximum of well-being with the minimum of consumption.... The less toil there is, the more time and strength is left for artistic creativity. Modern economics, on the other hand, considers consumption to be the sole end and purpose of all economic activity.

Festivals are particularly consumptive environments, to reach the stages one must walk past all number of store selling a variety of wares, generally enticing and novel. However the main event is the music a satisfying artistic endeavour that requires no further economic involvement than the initial ticket. The extent to which the cover price is used to cover the costs of the set-up versus profit is unknown. Speaking with some of the organisers two things become apparent firstly that they truly love the work they do and secondly none of the ones I met could be considered excessively wealthy. Of course economic definitions of wealth may differ on the basis of what is considered material necessity and I spent a large sum of money over the weekend, specifically on non-Buddhist beer. The central question is whether the act of going to a festival in itself is in Schumacher’s terms an act of consumption or artistic creativity. Arguably it is both and it is an area that Schumacher does directly deal with; consumption as creativity other than as a form of mystification of the capitalist process. If people believe that consumption is a creative process then they will nod and agree with Schumacher’s belief in the work/life ratio without having to challenge the deleterious processes of over production (environmental stresses through industry, anomie).

The environmental cost of bringing artists from around the world to perform in rural England must be great but certainly much less than that of 35 thousand people travelling to each of those places to see each of those artists in situ despite the massive uplift in local economies. However the presentation of consumptive choices at WOMAD is not absolute, the audience is allowed to bring food to the site and whether you choose to buy food from the vendors is a personal choice of convenience. Strictly in terms of time and cost it is more efficient for me to buy food at the site and in many cases you are purchasing directly from the producer. Moreover, other than Jamie Oliver there is a distinct lack of brand about WOMAD.

3. It is clear, therefore, that Buddhist economics must be very different from the economics of modern materialism, since the Buddhist sees the essence of civilisation not in a multiplication of wants but in the purification of human character. Character, at the same time, is formed primarily by a man's work. And work, properly conducted in conditions of human dignity and freedom, blesses those who do it and equally their products.

Overwhelmingly, the nature of consumption at WOMAD is guided by the artisan ethic. From Musicians to cream teas to Jamie Oliver’s large stall there is a direct connection with the product and its preparation. The celebrity chef as a cultural phenomenon is essentially the glorification of the artisan ethic to industrial ends. However the focus of the festival stalls is informed by the for-people-by-people ethic and most stall holders including Jamie Oliver’s staff are willing audience members at some point during the weekend.

4. The most striking about modern industry is that it requires so much and accomplishes so little. Modern industry seems to be inefficient to a degree that surpasses one's ordinary powers of imagination. Its inefficiency therefore remains unnoticed.

The festival stall’s inefficiencies are directly observable to all, spilled ketchup, soaked piles of unused napkins, accidentally fallen wooden forks and discarded paper beer cups. However, all these things are dutifully avoided where larger organisations might deem them inconsequential compared with the cost of changing practises, equipment or suppliers. A small army of children motivated by remuneration rabidly collected beer cups. Stall related wastage minimised for both aesthetic and economic reasons. Given that many festival goers were inebriated increased service on the part of stall holders minimises wastage as well as increasing the sense of value for each purchase.

5. Wisdom demands a new orientation of science and technology towards the organic, the gentle, the non-violent, the elegant and beautiful.

Small nomadic businesses such as those that frequent festivals must be technologically simple, energy efficient and non-polluting, failure in any of these areas results in down-time, increased haulage costs, and aesthetic failure. The aesthetics of the WOMAD business must be flawless since most stalls are overtly on show ugly machinery drives people away. New technology that facilitates these needs is immediately used and over 2008 2010 saw more solar panels in operation by stalls and increasingly by campers.

6. The way in which we experience and interpret the world obviously depends very much indeed on the kind of ideas that fill our minds. If they are mainly small, weak, superficial, and incoherent, life will appear insipid, uninteresting, petty, and chaotic.

Amongst the food and strange clothing stalls there were a lot of very earnest people raising interest for a number of charitable causes and global issues. Big ideas brought local. One group were publicising water access in Africa while others talked about some of the local issues affecting people in Wiltshire. The group that left me most enthusiastic was Jumbulance.

Jumbulance is privately funded venture that takes handicapped people or people with a life threatening illness on excursions. The Jumbulance group provides travel and accommodation facilities for people with special needs (special beds, oxygen masks etc) with 24 hour care provided by volunteers. For Dave, an organiser for Jumbulance, when asked why he organised the outing he looked shocked. Was I questioning his motives? Is he a ghoul? As it happened he seemed shocked that I had to ask. He felt that if it was possible for someone to do something for other then they should. Simple.

One of the core values for both Dave and Jumbulance is to help people who might otherwise be isolated from society to be included believing that for many people with disabilities reconnecting with society is a central part of their rehabilitation. On this occasion this brought a group of about ten wheelchair bound people to WOMAD and organised for them to witness a performance by the Oxford based folk group Stornoway for BBC radio up close. What started out as a reasonably surreal performance became something quite special as the severely handicapped wheelchair bound audience and their carers looked on in rapt attention. Often with severely handicapped people there is a difficulty in understanding what they mean or are feeling and conversely the frustration of not being understood must be ten times worse. However, for the band adoration is as it comes and performing to their best I would say a connection was made. Moreover for Dave and the volunteers it was an immediate reward for their efforts.

The key values that Schumacher wishes to see are definitely taken into account in festivals like WOMAD. However, for the majority participation occurs unconsciously - the potentials and reasons behind their purchases or involvement as unknowing as a day reading the Guardian or shopping in Sainsbury’s. The ethical adjuncts to product become deciding factors in purchases but remain a largely unconsidered obeisance to peer pressure and undecided consensus. This isn’t to say that WOMAD attendees are ignorant only that like all of us once investigated there is a tendency not to go over the same issues repeatedly once our minds have been made up, the indicators of that previous decision are all that we really look for, for instance the fair trade or soil association logo. No one wants to live in an overwhelmingly preachy environment however compared to Dave and his outings for the critically disadvantaged the question ‘What can I actually do?’ clamours to the fore. The answer is as Schumacher puts it ‘as much as you can’ however festival’s such as WOMAD which have a particular aesthetic of environmentalism do help foster an atmosphere where making ‘responsible’ choices of consumption are the norm rather than the exception. Moreover it is an important showcase for small businesses to show that they not only have great products but they are potentially available from wherever you live. Small producers are becoming more and more vocal in promoting their wares on the high street and if they teamed up with the charities next door at the festival there might be an interesting pollination of bringing third world products as well as local ones to a wider audience. The small is beautiful ethic wonderfully represented at WOMAD is becoming a reality through delivery services such as Abel and Cole however the possibilities of getting local products at your home is not one that is pushed at festivals. WOMAD has a great opportunity to help foster these linkages that can ideally help promote a demonopolised system of which everyone shares a part, both in terms of products and conscience.

references listed below

Preview:

Once again Trebuchet will attend this year’s WOMAD festival and expectations are running hot for another blistering weekend of sun and song. Highlights revealed so far include Horace Andy, Ozomatli, Tony Allen, Stornoway, Sierra Maestra, and Rolf Harris.

The appeal of WOMAD has remained one of musical discovery and this year promises nothing less. The inclusion of Rolf Harris indicates an almost surreal sense of self reflection and historicity on WOMAD’s part as it may be possible to consider him an iconic ethnopopulist whose use of the Didgeridoo and wobble board successfully predates Simon Jeffes, Malcolm McLaren and Enigma.

Furthermore, he is set to share the weekend with indigenous Australian performer Dan Sultan (the inestimably talented Gurrumul cancelled due to illness) showing that cultural appropriation goes both ways. Whether or not backstage discussion will touch on garbage disposal in the outback or the importance of National Sorry Day is open to question but we can be sure that a great weekend lies ahead for all.

WOMAD website

PRESS RELEASE:
WOMAD FESTIVAL 2010 LINE-UP ANNOUNCED

SALIF KEITA, THE DRUMMERS OF BURUNDI AND GEOFFREY GURRUMUL YUNUPINGU HEAD TO CHARLTON PARK

WOMAD festival returns this summer with another exciting and diverse line-up of world artists. Headlining this year’s festival is Malian afro-pop star Salif Keita, the world-famous Drummers of Burundi and indigenous Australian superstar Geoffrey Gurrumul Yunupingu.

Also joining this year’s line-up are the extraordinary Congolese street musicians Staff Benda Bilili, Jamaican star (and Massive Attack collaborator) Horace Andy with reggae group Dub Asante, Australian/Anglo institution Rolf Harris and his band and the glorious, home-grown talent of the Ukulele Orchestra of Great Britain.
Others artists confirmed are; Afro Celt Sound System (UK), Alim Qasimov Ensemble (Azerbaijan), The Bays & Heritage Orchestra (UK), Bibi Tanga & The Selenites (Central African Republic/France), La BrassBanda (Germany), Calypso Rose (Tobago), Dan Sultan (Australia), Dobet Gnahore (Cote D’Ivoire), Don Letts (UK), Poirier feat. Face T (Canada/Jamaica), Hanggai (China), Imelda May (Ireland), Justin Adams & Juldeh Camara (UK/Gambia), The Kamkars (Iran), LA-33 (Colombia), Lepisto & Lehti (Finland), Little Axe (USA), Mayra Andrade (Cape Verde), Nouvelle Vague (France), Novalima (Peru), Orchestra Poly-Rythmo de Cotonou (Benin), Rango (Egypt), Sentimento Gypsy Paganini (Hungary), Steven Sogo (Burundi), Syriana (UK/Ireland/Algeria/Jordan/Palestine), Tanya Tagaq (Canada) Toumast (Niger).

Festival director Chris Smith said, ‘I’m thrilled with how the line-up for 2010’s festival is shaping up with many more names to come. Whilst announcing which artists will be appearing at any WOMAD festival is always exciting, this year it’s tinged with sadness due to the recent loss of DJ Charlie Gillett. Charlie was a prominent member of the WOMAD family from the very first festival and he will be greatly missed. His passion for the discovery and championing of new world artists and musicians was simply unparalleled and we look forward to celebrating his life in true WOMAD style at Charlton Park this year.’

WOMAD is so much more than just a first class world music festival and returning this year will be the popular ‘Taste the World’ tent where some of the artists will show off their cooking prowess and which, more often than not, turns into a impromptu gig. The Drum and Dance Tent will make a welcome return with favourites such as early-bird yoga sessions and salsa lessons on offer. And for those who fancy a luxurious moment to themselves and a scrub up, the WOMAD spa, complete with treatments, spa pools, great showers and a cocktail bar, is the place to go.

WOMAD promises to be bigger and better for kids and young people than ever before. The World of Kids will have the usual comprehensive programme of workshops, entertainment and activities being held throughout the weekend and the magnificent Children’s Parade through the arena will be one of the festival highlights. WOMAD continues its well established place as the best festival for the whole family, by allowing all children 13 years and under, in for free.

WOMAD returns this summer to Charlton Park in Malmesbury, Wiltshire, from 23 to 25 July 2010. Tickets are on sale now.

The WOMAD Festival experience is not about the familiar, the tried and tested; its essence is in the discovery and enjoyment of a totally unexpected artist or a style of music which would never otherwise have been encountered. It’s a magical, musical melting pot, enriching all who experience it.

Central concepts taken from wikipedia

What's Your Story?

nospam@example.com (Kailash Elmer) — Tue, 24 Aug 2010 09:47:00 +0100

Making music is like storytelling - you guide the listener through a slice of time, taking them where you want them to go, for the effect you want to achieve.

If you want to shock you can take them down a familiar route and then suddenly change the surroundings to an unfamiliar and shocking landscape....

If you want to relax and reassure them you can create a safe, happy environment where nothing will ever hurt them.

Where did your story start? And where does it finish? How can you show that progression in your music? What will your audience learn along the way?

Remember that good storytelling is always a learning experience for the listener - and music is no exception. When people enter into that contract of listening and being guided, they open themselves up to being taken on a journey...they are waiting to learn and experience the things you tell them...

What is your story?

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: djcodrin / FreeDigitalPhotos.net

What Writing music is NOT:

nospam@example.com (Kailash Elmer) — Sat, 21 Aug 2010 09:41:00 +0100

What Writing music is NOT:

...it's not about talent.
...it's not about technical ability.
...it's not about the gear you use.
Writing a piece of music is about how much of yourself you are willing to invest in it.
It is about how hard you are willing to work.
It's about how many failures you won't let yourself make...
It's about thinking clearly...it's about letting your inspiration do the hard creative part, and getting your rational mind to fill in the blanks.
I believe that anyone can write a great track..it just takes the commitment, the effort and the will to not give up until it is done.
It's about trying harder than anyone else.
It's about confronting the problem and figuring out a better solution than anyone else!

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: Tina Phillips / FreeDigitalPhotos.net

Think it over and it will fall down.

nospam@example.com (Kailash Elmer) — Wed, 18 Aug 2010 09:34:00 +0100

Elton John’s partner David Furnish (yeah I can’t believe I’m quoting him either) once said “Anyone with an addiction is not being honest about something in their life” – and I think the same applies to motivation.

Whenever I’ve felt demotivated when working on some music, it’s always been because of some doubt somewhere about what I’m doing. Whether it’s doubts about if the project is worth investing my time in, or I have a feeling it’s going to fall through and my music will end up not being used…perhaps it’s something I don’t really feel happy about being involved in. Maybe I secretly feel too insecure to be putting your music into a certain project – or possibly feel I’m too good for another one.

Whatever the reason, feeling demotivated is a clear warning sign. It shows that deep down I don’t want to do it.

It shouldn’t normally take too much soul searching to find the answer…and reaching a completely honest answer is vital.
If you don’t want to write music because there’s something good on tv, or you want to go out instead – well it depends on the context (if you have a deadline for a track the next day and you would rather be out clubbing, then perhaps re-evaluate what you feel is important to you!), but in general I’ve found that this sort of thing is procrastination.
To avoid the stress of doing it, you fix your mind on some random activity that suddenly seems enormously alluring.
Face the fears and doubts…they are an imaginary boundary, and as Frank Zappa said “Think it over, and it will fall down…” – if the doubts and fears are genuine, then this is a difficult position, as something in you does not want to do what you are doing, and you need to look at what that means for you.

As negative as that seems, I’d always say to look for the positive in situations like this. It was this exact quandary that shifted my life from making music, to helping others to improve their music making.

Something in me was saying “this is not the right thing for you” – and I’d devoted my whole life to music, and becoming a better musician…it was hard to listen to that voice, but it did steer me in the right direction, it just took a while for me to figure out what I wanted….

When you are doing what you love, in the way that you want to…motivation will never be a problem…if anything it will be a problem stopping yourself doing it all day!

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: Francesco Marino / FreeDigitalPhotos.net

Master and Servant

nospam@example.com (Kailash Elmer) — Sun, 15 Aug 2010 09:26:00 +0100

I've mentioned in a few places that when you are making music everything serves the message.

I think I need to qualify this a bit to avoid confusion!

By "everything", I mean the musical ideas you have, how you use them, the sounds/timbres you use and the structure of the track. In a word, I mean the sound you have made.

When I say the "message", I mean that music is a language, and it expresses things. The language is recognised by humans in a peculiar way and unique way. It is the sort of language the mind uses to express feelings, instincts and emotions. Meanings are personal and flexible. It is not the same as languages that use specific words for specific objects and concepts. Music works on a lower, more primitive and powerful level than conscious thought...but it doesn't only work on that level.

This all seems to fit together nicely...except there's one problem.

What a piece of music expresses is determined by the listener - not the creator.

The "message" is not fixed - it is created uniquely by each listener. Listeners may share a similar message, but like snowflakes and memories...no two will ever be exactly alike.

The creator can try to evoke ideas or feelings with their music, but they can never guarantee the content of the message that the listener will receive.

Hence, everything that you put into your music serves the message - even if you do not intend a message, or if the music is generated by some algorithm or artificial process. The message will be generated by the listener as a response regardless of the intention of the creator.

Curiously, a solution to this contradiction lies in instinct - what you instinctively know how to say in this strange language will also have the best chance of being communicated accurately, at some level, to other humans. We all share the same basic construction...deep down we all work in the same way. Tune in to what you instinctively feel is right for your music, and you will reach out directly to other people in a more honest way.

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: Suat Eman / FreeDigitalPhotos.net

Be Your Own Worst Critic

nospam@example.com (Kailash Elmer) — Thu, 12 Aug 2010 09:00:00 +0100

Being a musician is about dealing with emotion. It’s often about connecting with the listener and telling them a story that connects emotionally with them. Whether it’s a classical symphony or a dancefloor banger - you’ve got to connect with that unknown person on the other end of the line.

Unfortunately, the process of making music can be a highly emotional one in itself, and you can easily get caught up in a terrible trap. The trap of knowing what your intentions are with your piece of music.

When this happens, you forget the listeners point of view, and you start thinking:

“oh hell yeah, I’m nailing this track, I’m on a roll and I’m completely awesome!”

Sure it sounds like that when you know what the message is, and how you did it, and how much work you put into it....and you’ve just spent all night on it.

The casual listener will have no interest in whether or not you’ve written better or worse tracks...they won’t care if you stayed up all night trying to get one particular detail right.

They’ll react to it instinctively, right!?

This is where the sobered up “morning after” listen comes in. If your track still kicks ass at 7:30am the next morning (and you’ve actually been to sleep for a decent period of time - all nighters don’t count here) then you have probably hit your mark.

There is not a creative musician in the land who has not experienced the “I’m a genius” moment in the heat of creation, only to be brought crushingly down to earth the next morning.

The message here is - listen to your music like a stranger would. Don’t be soft on yourself... be your own harshest critic, and you’ll already have faced the worst criticism.

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: Chris Sharp / FreeDigitalPhotos.net

Silver Apples, Eat Lights Become Lights, Luminaire 2010

nospam@example.com (Kailash Elmer) — Tue, 10 Aug 2010 15:55:00 +0100

Luminaire, Kilburn. 08-08-2010

For those that don’t know Silver Apples are THE electronic group of all time. ‘Genre defining’ is perhaps too glib a description as its general overuse has rendered it incapable of accounting for the trail they auspiciously blazed.

Fuck it, Silver Apples are to electronic music what Thomas Edison is to Facebook.

Formed around 1967 they matched Danny Taylor’s 60s jazzbeat inspired drumming with far-out oscillators and solid state circuit-bent instruments courtesy of Simeon (aka Simeon Coxe III). However it wasn’t simply weird noise over stoned trance-heavy percussion, vocally Simeon delivered modern poetry and abstract musings in a particularly fresh way. Both Danny and Simeon stated that they were far more interested in patterns than music per se and their efforts inspired and prefigured krautrock, synthpop, dance music, electronica and boffin-lead outsider music for decades and probably decades more.

Danny died in 2005 but Simeon continues to write and perform solo or with occasional collaborators since the band’s popular rediscovery in mid 90s and again since 2006 via the championing of ATP (All Tomorrow’s Parties) and other cognoscente promoters.

The performance at the Luminaire in Kilburn was much anticipated on electronic and IDM message boards however there weren’t massive amounts of people present on the night. Perhaps due to it being a Sunday or perhaps because the band’s done a reasonable amount of shows in UK recently, in any case there was a feeling a pensive excitement throughout the venue.

These sorts of icon shows usually attract a fairly motley attendance and the Luminaire didn’t disappoint; pensive indie kids swayed downcast from the bar into corners furtively looking to see whether they had picked up pansexual interest, leopard print rock vixens with heavily lined eyes and bleach damaged hair texted their baby sitters and baby sat their vacant eyed am-I-a-musician? boyfriends, surly promoter types wandered around giving heavy ‘tude with serious airs of authority while clique taut anonymous man-baby types judged each other’s flannel shirts and greasy fringes.

I love the Luminaire. It’s a beautiful venue with good sound. The bar staff are fantastic; friendly, efficiently on it, and female, they are everything a thirsty punter could ask for. I have a gripe though and it’s a gripe that makes me inordinately angry, contemptuous even. Stencilled on the walls and looping on flat screens are ‘The Expectations’; we are not supposed to speak during performances as this is a ‘live venue’ and not a pub moreover if ‘we came to talk to our pals, we are in the wrong place and should leave’. The flat screen displays have an archly condescending tone as they parse regular enough questions that any normal person might ask; ‘where can I find a cash point?’ and ‘once events have been sold out is there a returns policy for tickets?’ in the form of a conversation where the customer is not simply wrong but stupid. It smacks of cliquey exclusivity begat by ugly people with no social skills and perpetrates the worse kind of reverse Darwinism where the sick and lame are allowed to spoil life for the conscientious, attractive and able. So please note: If you don’t want to deal with the public its probably best not to go into hospitality or leave the house for that matter.

If I am listening to a band that has failed to win their audiences attention let alone admiration, fuck them. Obviously I’m not going to start heckling, loudly recount my public sexual encounters or argue the merits of the offside rule. What I am probably going to do is head for the bar and have a drink and snidely discuss how much the band sucks with similar aligned aesthetes. I know this, we all know this, we don’t have to be told and telling us makes me hate you. Moreover, there is a general barometer of interest when it comes to performance and life in general. The more people like you the closer they come, physically and emotionally. Things are going badly if everyone hugs the walls and there is a vast expanse in front of you. Similarly if you’re absolutely on fire and the area at your feet is crowded by idolaters expect them to get active, jump, shout, show man-tits, and fake lesbianism for effect. To recap re: stage up-front much likes at back less-likes, simple, yes? Good.

Good times come along anyway
I don't care what the people say
Do what I want to every day
Cos I don't care what the people say
-Silver Apples

Now if you are standing in the middle and someone likes a particular song A LOT expect them to push to the front, tears streaming from their eyes as they remember their first kiss or how they felt when Nadine Burford dumped them or just sheer fucking joy. Don’t give them a shitty look that will cause an obvious confrontation, let them pass quickly and they’re gone, and if they stop right in front of your short fat girlfriend tough luck, it’s a gig, swap places with her and she should be able to see as well as she can given her obvious handicaps. They are in front of you so they obviously like the band much more than you, so courtesy dictates that you let them closer to the stage. If you disagree move on up, the band wants the people they see to be really into them, not your po-faced chin stroking being permanently clouded as someone jostles you from behind.

‘I really like the band but I’m not the sort to dance, jump, smile. I like things really regimented’

Sorry, you fail at life and no one should be subjected to your negative experience. Moreover given this general attitude I don’t think you really like anything. Constantly and compulsively fucking yourself over and without joy, you’re an unfortunate soul who cannot love in the true sense of the word. It is for you that the Luminaire put up these signs on acceptable behaviour because you are incapable of being a person other than in a prescribed manner. The freedom that life and great music allows remains constantly locked behind the green door. Musical ecstasy for you remains typified in one inflexible way that necessitates that everyone else conform otherwise your whole night is just ruined.

‘Not everyone wants a musical event to be a mad bacchanalian adventure or sights and sounds unseen’

Then why did you come? Predictable musical events of performative perfection are called 'albums', you can buy them and listen to them in the privacy of your own dank bedroom. I imagine that attending concerts is essentially a form of box ticking for you. You are of the passive generation.

‘You seem really angry about something, what it is? I’m a quiet guy with a pasta addiction and I like my checked shirt but really did you have to say that about my girlfriend?’

A lot of performances in London have become sedate affairs of people tutting at each other and subduing every act of musical appreciation barring polite applause. For years bands have remarked that London audiences are reserved to the point of being uninvolved and this should not be encouraged. Reading Mojo cover to cover and being manifestly obsessed with updating Wikipedia articles belies an ignorance of the limitations of the gig/performance dichotomy. Gigs are apparently experienced physically whereas performances assume a more cerebral consumption. It seems that people are asking less and less how they feel about musical events than what clever things they are made to think. As a result there is a tendency towards anodyne musical performances that are saying nothing and emotionally vacuous. Sadly this might be a reaction to music being consumed by unaware and emotionally simple audiences who don’t know how to be anything but passive in a musical environment.

‘What has this to do with the Eat Lights Become Lights and Silver Apples gig?’

Eat Lights Become Lights (ELBL) are a great band who seem to mix Yes and Krautrock-like Prog elements through a Stereolab filter. One imagines that in the States they’d really move an audience where bands like Particle tread similar waters to great popularity.

Humorously one of their intro sounds a lot of like ‘I want to break free’ by Queen but they quickly rocked it out with a steady but serious beat and accompanying groove based technical prowess. English band The Egg has to some extent harvested this crop before however where The Egg ploughed their field in the dance field ELBL are aiming for a more indie based sound. Arguably both acts are trying to bring their audiences into a groove based area of live instrumentation while skirting perilously close to the horrendous morass of white funk. ELBL are really a band with a strong sense of integrity who have captured their sound to almost rehearsed perfection it’s hard to make out where they’ll go with it but at the moment they seem unstoppably at the top of their game. More to the point it seems like they really care about the music they’re making, the changes are interesting and the drums pretty irrepressible. Despite being a support band they received a reasonable amount of love on the night and I think a few good festival slots should have them performing to greater crowds in the next 6-12 months. Against the earlier tirade this band is going in the right direction musically and the only criticism I can summon is that they didn’t really have an overriding conceit to make them uniquely great.

Silver Apples on the other hand despite the sad absence of Drummer Danny Taylor were packed full of personality. Simeon is truly a unique and fascinating musician who can’t help but express his ideas through his bleeps, squelches, fractured melodies and pink noise. I overheard grumblings that the updated and modernised drums sounds used to fill in for Danny weren’t really what people wanted. Initially I would have preferred to see and hear the freewheeling jazz-antics rather than some of the more predictable drum programming that accompanied the familiar tracks but towards the middle of the set the drums came into their own and there were some wonderfully dark tonal sections which rivalled anything created by artists a third of Simeon’s age. Encouragingly people nodded and stood transfixed as Simeon improvised sounds and melodies through his contraptions and as people filed out of the venue you could hear that a lot of lives had been changed.

In between the acts a short film about Silver Apples was shown featuring interviews with members of Can, Devo, Faust, and Suicide, as well as Jack Dangers and Alec Empire all of whom paid tribute to the band and described how much influence the band had on them either knowingly or unknowingly. Jack Dangers was particularly voluble on exactly how much ground they had covered during their first career in the 60s. It’s always a bit tense to see one of the so-called seminal bands play as what was once fresh and visceral is usually, by virtue of being heavily copied through the years, quite muted decades later. One of the more inspirational moments of the evening was the shock that despite losing a member and being in his 70s Simeon as Silver Apples was still vital conceptually and musically. The footage and interviews of the band from the 60s and 90s showed a partnership of two individuals without necessarily grand ambitions but certainly a strong concept and an unshakable belief in the music they were making.

The final message of the short film was made by Simeon where he forcefully and energetically pronounced that people should never give up, they should keep going, no matter what. It is a message that I hope activates those inspired by the show to get involved with a grand scheme of their own making and a positive message that doesn’t require infantile signs urging conformity to get people doing the right thing.

Image credits: Courtesy of Silver Apples
1. 2008, Berlin, by Manfred Miersch
2. 2007 ATP Fest., England, by Zach Dilgard
3. 2002, Fairhope, Alabama

Everything I do turns out rubbish!!!

nospam@example.com (Kailash Elmer) — Mon, 09 Aug 2010 22:59:37 +0100

We've all had those phases - the reverse Midas Touch, where everything you touch turns to poop.

Every note you put down suddenly seems empty and worthless....everything goes wrong, everything sounds rubbish. Even the cat leaves the room.

I'm going to take a big risk now....as what I'm about to say might come across as extremely irritating, and possibly a little smug and condescending.

But...these phases...are....a symptom. They reflect your attitude at a certain time, and that is all. They are a mood...and nothing can change your mood faster than winning the lottery. I mean, nothing can change your mood faster than distraction. Changing your focus.

I've found that these "I can't make good music" phases almost always coincide with a one or more of the following scenarios:

Scenario 1: A lacklustre state pertaining to life in general...a feeling of lingering shoddiness about life.
Scenario 2: Anger or frustration lingering in the mind.
Scenario 3: Some form of let down regarding musical activities...or sometimes a let down to do with something else important.
Scenario 4: Feeling unappreciated and/or wanting to make it known to other people you feel unappreciated.
In a word: FEELINGSORRYFORYOURSELF

You might disagree...but to be honest when you're in one of your moods there's no reasoning with you! *slams door*

These phases are very easy to get out of...you just need to change what you are saying to yourself. Instead of all the negative stuff, start reminding yourself of what you have done that has been praised before...and remind yourself that this feeling is not imposed upon you by "fate"...it's just emotions becoming destructive. You could use that feeling of being down or frustrated or angry, but in a positive, creative way.

There is one danger. It is that you'll get out of it, then mess up the first thing you do, and send yourself back into the bad mood again. So watch out for that one!

The point of this is that you get what you concentrate on...and when negative feelings take over they can seem to have a real, physical effect. Their power can be removed by taking control of your thoughts and turning them towards the positive again.

Ask "how can I use these feelings to make some music?" or "How can I express this?" rather than tell yourself destructive things like "I'm rubbish at music and everything I do is crappy".

Your mind has a knack for answering questions creatively...whereas it just lingers on statements. Telling yourself negative things will only have you wallowing in self pity. Ask yourself for a positive way out and your mind will scramble to find a way....

by Dave Graham

David Learnt composition (harmony, counterpoint and orchestration) to degree level through studying Schoenbergs Fundamentals of Musical Composition, the classic text on twentieth century harmony by Vincent Persichetti, Henry Mancini's Sounds and Scores, Rimsky-Korsakov's excellent books on orchestration as well as studying any scores that intrigued me.

He is a founder member of two bands, avant pop duo Cnut, and orchestral doombience outfit Regolith, and have performed across Europe with them.

Image: Francesco Marino / FreeDigitalPhotos.net

5 Ways to Re-Ignite Your Passion for Making Music

nospam@example.com (Kailash Elmer) — Sat, 07 Aug 2010 22:49:00 +0100

1 - Change your approach
There’s an old saying that goes something like this: “If you keep doing the same thing, you’ll keep getting the same result”. This applies to all areas of life, but when it comes to creative activities, it’s even more potent. Any time that your interesting in making music wanes, whether it’s because of a lack of success, or because you were finding you couldn’t get the results you wanted - whatever the reason - changing the way you work and even the reason that you work can have a positive effect. It can instantly knock out bad habits and dead-end thought patterns, and get you focusing on exploring new ideas and processes. Even something as simple as changing the tools you use, or the room you work in can help, anything that removes the negative associations with what was happening before. Try some different software - or a different way of recording...if you only did sequencing before, try playing things live. If you were using samples, try programming synths...check out the opposites of what your were doing before.

2 - Learn something new
Nothing re-ignites passion for a subject more than finding out something new about it. Look in places you have never explored before, discover sounds and ideas you’ve never encountered. Read a book about a musician you don’t know much about, or perhaps even buy a textbook on a particular style or period of history. Look online at music encyclopedias...find odd little snippets of knowledge, novelties and oddities!

3 - Explore your past and set a course for the future.
Sometimes in this long journey, we lose track of where we came from. If the journey is hard work, we even lose track of where we are headed! When confusion has set in and nothing seems fun anymore, there is only one thing to do. Get back to your roots! Look over your past, the first music you loved...go back and listen to it again. Try to find that spark that was in there...what was it that made this music so special for you back then? When I’ve done this, I’ve sometimes had strange moments where I remember what my ambitions were back then. It all comes back...the things I wanted to do and be. Even if you don’t want those things any more, they were important to you and they steered you into the decisions that you made. I’m not saying you need to follow the ideas that come up from this - I’m just saying that it can be worthwhile going back over how you got to where you are. What happened? Were you in control or did the tide take control over your fate? If you could choose where you wanted to go from here - what would you choose to do, or be?

4 - Make new mistakes!
Throw away your old habits, and make a whole bunch of new mistakes. I’m really good at making mistakes, and I heartily recommend them, some of my best ideas have come from them. From playing a wrong note and finding that the tune sounds better for it, to assigning the wrong instrument to a midi track and getting as great sound...mistakes are great, as you can’t do them wrong! All you need to do is make the most of the happy accidents, and dust yourself off from the less pleasant ones.

5 - Do what makes you feel good.
Making music can often mean making habits - we do the same things over and over, the same thought processes and the same actions...we just develop ways of doing things that are comfortable and reliable. When these habits mean that we end up on autopilot - we end up with uninspired results and unhappy musicians! Often, we feel like we need to “press on” and keep going, even if it’s not getting us anywhere, because the other option is to give up. Of course there’s other options! Taking a break can be a good one, especially if you’re like me and always want to work through bad patches. Don’t be scared to give yourself a break. Do what makes you feel good - but be smart, sometimes challenging yourself can lead to greater satisfaction. Feeling good doesn’t just mean going out and partying...I mean find a way to get more happiness from your music. Make the music you want to, for the reasons that make sense to you.

by Dave Graham

Image: m_bartosch / FreeDigitalPhotos.net