Awhile back I wrote about being ashamed to be an American, because it meant atrocities were being committed in my name. Now, I'm almost ashamed to be human. When the aliens come, I'm gonna tell them I'm not human. I'm not one of those humans doing this.
This is old news in the animal rights community, of course. For decades those who fight for the rights of animals have known that these conditions exist and are commonplace in the factory farms that raise the animals that end up in restaurants and supermarkets. However, nobody wants to hear a bunch of tree-hugging hemp-wearing Green-voting pacifist vegans wail about the animals and the unspeakable things they go through. It's boring and histrionic and we would all rather have a nice bucket of KFC or a burger.
I am not, by the way, weeping and wringing my hands and begging all the people to GO TOWARD THE LIGHT! In case anybody reading this blog doesn't know this already, I am Wiccan. It is my job to know that one cannot light a candle without casting a shadow. I live by "an it harm none, do as thou wilt", but the pure expression of the Rede is as unattainable as any of the Christian teachings. One cannot live on this planet without doing harm. I don't eat meat, and have not done so for 14 years, but that doesn't mean I am not doing harm. The plants I eat are sentient and they had to die in order to become food for me. There's nothing I can do about that. I walk down the street knowing that with every step I end the lives of microscopic life forms. We all do. There is nothing we can do about that.
But when I am celebrating someone's birthday and the celebratory birthday meal has been arranged to happen at the Carrow's in Santa Rosa, I can rely on the fact that nobody at that restaurant concerned themselves about whether the eggs, comprising the veggie omelet which is the only thing on the menu I can eat, were free-range. Undoubtedly they are not, and I've gotta close my eyes and plug my ears and sing "la, la, la" to myself so as not to remember that the same chickens that are having their beaks cut off without anesthesia and are being thrown, stomped, and otherwise terrorized before their necks are wrung, laid the eggs that I am eating.
You folks out there who love your meat, or who are on your Atkins diet or whatever, rest assured that in my ideal universe, everybody gets to eat whatever they want. Really. Honestly. Including you. However, there's one condition: if you are gonna eat meat, you have to kill that animal yourself. That's the only sporting, honest thing to do. If you want that meat, you are going to have to kill that animal yourself. Surely you will welcome that task because you really, really want that burger.
If I'm willing to pull a carrot out of the ground and wash it off and eat it, then surely you are man or woman enough to take the life of the creature YOU wish to consume. Go right ahead; be my guest. Just don't allow a corrupt, polluting, morally twisted, politically connected and otherwise inexcusable agribusiness do it for you. That's got nothing to do with the circle of life.
Tuesday, July 20, 2004
Sunday, July 04, 2004
Luggage Store Gallery
The Luggage Store Gallery is across the street from the Golden Gate Theater, where Hairspray is currently being performed. It's on Market Street at 6th Street, which is a rather, uh, intense neighborhood. Despite this, the gallery has been doing really well.
The gallery itself is up at the top of a steep double flight of stairs and musicians perform at the street end of the space in front of a row of tall windows. Organizers Rent Romus and Matt Davignon told me that normally, there's a big velvet curtain hanging in front of the windows, but that it was taken down recently and they don't know why. They hope it's coming back, since it helps make the space less live, and Rent has a noise show booked for the very near future.
Anyway, Zeke Talbot played first on detuned and prepared guitar, with some looping going on and singing along. He had something very haunting and disturbing going on, like a serial killer in a scary indie film, that I really appreciated. I went next along with Will and Jim, and Peter Nyboer was last with his laptop music. He also did a turntable improvisation that I really liked. We all had the street light and the Golden Gate Theater marquis in the background. Rent told me that he was grateful one of the two street lights was burnt out, because last time they had both been shining in behind the performers and that it was pretty blinding.
Celeste was there with a DAT recorder with which she recorded our set. She'll be transferring it to CD and I really hope it comes out well, because the music felt and sounded really good while we were doing it. You never know though if it will come across in a recording.
In other news Ben McAllister has posted sound files, photos, and commentary from Big Sur on his web site. You can see it at http://www.listenfaster.com/bigsur.shtml.
In other and even better news, I've been awarded a grant from the American Composers Forum's Subito fund. It will help me make my upcoming fourth CD, Not Made of Stone.
The gallery itself is up at the top of a steep double flight of stairs and musicians perform at the street end of the space in front of a row of tall windows. Organizers Rent Romus and Matt Davignon told me that normally, there's a big velvet curtain hanging in front of the windows, but that it was taken down recently and they don't know why. They hope it's coming back, since it helps make the space less live, and Rent has a noise show booked for the very near future.
Anyway, Zeke Talbot played first on detuned and prepared guitar, with some looping going on and singing along. He had something very haunting and disturbing going on, like a serial killer in a scary indie film, that I really appreciated. I went next along with Will and Jim, and Peter Nyboer was last with his laptop music. He also did a turntable improvisation that I really liked. We all had the street light and the Golden Gate Theater marquis in the background. Rent told me that he was grateful one of the two street lights was burnt out, because last time they had both been shining in behind the performers and that it was pretty blinding.
Celeste was there with a DAT recorder with which she recorded our set. She'll be transferring it to CD and I really hope it comes out well, because the music felt and sounded really good while we were doing it. You never know though if it will come across in a recording.
In other news Ben McAllister has posted sound files, photos, and commentary from Big Sur on his web site. You can see it at http://www.listenfaster.com/bigsur.shtml.
In other and even better news, I've been awarded a grant from the American Composers Forum's Subito fund. It will help me make my upcoming fourth CD, Not Made of Stone.
Monday, June 14, 2004
Me and the Punk Rock Orchestra
Yesterday I attended a Punk Rock Orchestra rehearsal to deliver the parts for my arrangement of my song "Road Spiders". That's all I was planning to do, but when I got there the director, John Gluck, asked me if I'd brought my flute. Apparently their first flute player, Suzanne, wasn't going to be in for a couple of rehearsals and he asked me to sit in.
It was a blast. The pieces we rehearsed were "Nazi Punks Fuck Off" by the Dead Kennedys, disturbingly morphed with Leo Delibes' Flower Duet; "Mosh of the Toreadors" arranged by John based on Carmen; and an arrangement of "New York's Alright If You Like Saxophones" by Fear. It was a lot of fun.
We ran through "Road Spiders" too. I got to demonstrate the flute part. I took comments from the players who needed changes made to their parts (mostly to make them less long, not so many page turns, easier to read, etc.). Nobody was amplified so we couldn't hear the mezzo-soprano's rendering of the words, but I could read her lips, and I'm sure later on I'll hear them amplified. I know I did the right thing leaving the brasses out of the arrangement because the bass line was quite loud enough with just the low woodwinds and the strings. One brass player who was there said the piece sounded like Vulcan music. A violist gave me a big thumbs-up and Michael Mendelssohn, one of their singers, gave me a high five. John really seemed to like it. So it's a good start!
Will Grant, Jim Carr, and I are getting ready for our gig at the Luggage Store Gallery on July 1. We have sketched out a basic outline for our 30 minutes. I have written all-new words, and the music will be improvised. You should come hear it!
It was a blast. The pieces we rehearsed were "Nazi Punks Fuck Off" by the Dead Kennedys, disturbingly morphed with Leo Delibes' Flower Duet; "Mosh of the Toreadors" arranged by John based on Carmen; and an arrangement of "New York's Alright If You Like Saxophones" by Fear. It was a lot of fun.
We ran through "Road Spiders" too. I got to demonstrate the flute part. I took comments from the players who needed changes made to their parts (mostly to make them less long, not so many page turns, easier to read, etc.). Nobody was amplified so we couldn't hear the mezzo-soprano's rendering of the words, but I could read her lips, and I'm sure later on I'll hear them amplified. I know I did the right thing leaving the brasses out of the arrangement because the bass line was quite loud enough with just the low woodwinds and the strings. One brass player who was there said the piece sounded like Vulcan music. A violist gave me a big thumbs-up and Michael Mendelssohn, one of their singers, gave me a high five. John really seemed to like it. So it's a good start!
Will Grant, Jim Carr, and I are getting ready for our gig at the Luggage Store Gallery on July 1. We have sketched out a basic outline for our 30 minutes. I have written all-new words, and the music will be improvised. You should come hear it!
Monday, May 31, 2004
No rest for the wicked
That's what my mom used to say when I whined about my chores as a kid. I was a very literal-minded child and I was always concerned that the remark meant that I was wicked (in the traditional bad way) and that therefore I had to do lots of chores.
Nowadays I know better -- wicked is actually a good thing. :) The part about no rest has not changed. Yesterday's experience at the Big Sur Experimental Music Festival was really, really good. I had a great time improvising with my assigned cohorts. I think it went extremely well. The event is wonderfully peaceful, happy and convivial. It's great to be with so many of one's own kind, and make and renew contacts. The redwoods are beautiful, and the Henry Miller Library helps to create an atmosphere of freedom that feels so good held up against the usual city and suburban grind. This gig is a lot more like vacation than a gig, although I would hardly characterize gigs as "work", exactly; more like a soul's compulsion. It was pretty hot though.
Today I can't give myself a day off. There is a lot to do. There is a press package to send out, articles to write, practicing to do, contact info to be logged in and dealt with, and CDs to listen to. Ben McAllister from Seattle gave me a CD of his music, and Will Grant, who attended the festival and played too, gave me a CD of what he's done with the recordings we made earlier this month. It's all preparatory to our Luggage Store Gallery gig on July 1. Paul, in his role as official photographer, took about 150 pictures yesterday which will need to be developed and gone over. Soon there will be all new photos on this web site.
Celeste and her new girlfriend Nicole were there too. They are a cute couple! I got to say hi to Ken Lee (close friend of Michael Haumesser who engineered Taste the Wall -- who has a baby now, astonishingly) and Jonathon Grasse (my grad schoolmate, now teaching at UCLA). It was nice to see Ernesto Diaz-Infante again and to finally meet Matt Davignon after only emails up till now. I got to meet flutists Marjorie Sturm and Emily Hay. Ben McAllister seems pretty cool. I wonder if he's overflowing with positive energy all the time, or just at festivals. :) Max Valentino played a sensuous and warm bass guitar.
Nowadays I know better -- wicked is actually a good thing. :) The part about no rest has not changed. Yesterday's experience at the Big Sur Experimental Music Festival was really, really good. I had a great time improvising with my assigned cohorts. I think it went extremely well. The event is wonderfully peaceful, happy and convivial. It's great to be with so many of one's own kind, and make and renew contacts. The redwoods are beautiful, and the Henry Miller Library helps to create an atmosphere of freedom that feels so good held up against the usual city and suburban grind. This gig is a lot more like vacation than a gig, although I would hardly characterize gigs as "work", exactly; more like a soul's compulsion. It was pretty hot though.
Today I can't give myself a day off. There is a lot to do. There is a press package to send out, articles to write, practicing to do, contact info to be logged in and dealt with, and CDs to listen to. Ben McAllister from Seattle gave me a CD of his music, and Will Grant, who attended the festival and played too, gave me a CD of what he's done with the recordings we made earlier this month. It's all preparatory to our Luggage Store Gallery gig on July 1. Paul, in his role as official photographer, took about 150 pictures yesterday which will need to be developed and gone over. Soon there will be all new photos on this web site.
Celeste and her new girlfriend Nicole were there too. They are a cute couple! I got to say hi to Ken Lee (close friend of Michael Haumesser who engineered Taste the Wall -- who has a baby now, astonishingly) and Jonathon Grasse (my grad schoolmate, now teaching at UCLA). It was nice to see Ernesto Diaz-Infante again and to finally meet Matt Davignon after only emails up till now. I got to meet flutists Marjorie Sturm and Emily Hay. Ben McAllister seems pretty cool. I wonder if he's overflowing with positive energy all the time, or just at festivals. :) Max Valentino played a sensuous and warm bass guitar.
Friday, May 14, 2004
Album name change, again...
Wanted to let you all know that I've changed the name of my upcoming fourth album, AGAIN. It was going to be Exit Stage Wrong. Now, I've found one that is a better fit for the overall concept: Not Made of Stone.
In other news, Will Grant and I got together to do some recording last night at Celeste's Berkeley abode. I got my first look at the Long String Instrument, which is living there with its creator, Ellen Fullman, while Celeste is away at grad school. :) Will and I had to be very careful not to disturb it as we set up recording equipment nearby.
We took stabs at recording the flute part I've written for his piece, Dreams. We also recorded me doing a range of different flute sounds -- multiphonics,key percussion, different percussive tongued and air sounds, etc. -- and some spoken words, for him to process and use as laptop music in the gig we are going to do together on July 1st at the Luggage Store Gallery in San Francisco.
I'm almost done with the orchestral score for Road Spiders. I have until Thursday to get it finished and printed so I can deliver it to John Gluck after the Punk Rock Orchestra show.
In other news, Will Grant and I got together to do some recording last night at Celeste's Berkeley abode. I got my first look at the Long String Instrument, which is living there with its creator, Ellen Fullman, while Celeste is away at grad school. :) Will and I had to be very careful not to disturb it as we set up recording equipment nearby.
We took stabs at recording the flute part I've written for his piece, Dreams. We also recorded me doing a range of different flute sounds -- multiphonics,key percussion, different percussive tongued and air sounds, etc. -- and some spoken words, for him to process and use as laptop music in the gig we are going to do together on July 1st at the Luggage Store Gallery in San Francisco.
I'm almost done with the orchestral score for Road Spiders. I have until Thursday to get it finished and printed so I can deliver it to John Gluck after the Punk Rock Orchestra show.
Thursday, May 13, 2004
We interrupt our regular innocuous journal postings...
Ahem.
Can I just step up here for a minute and say I'm ashamed to be an American? Being an American means that atrocities are being committed in my name right this minute. Not only that -- my parents had atrocities committed in their name also. The Phoenix Project, the heinous thing upon which the current program of abuse in Iraq is based, was implemented during the Viet Nam war.
Here's a link where you can read all about it, and hopefully weep: http://www.thememoryhole.org/phoenix/
Here is a link to the official Army investigative documents about the prison abuses in Iraq: http://msnbc.msn.com/id/4894001/
So if anybody tries to wring their hands and tell you that what's going on in Iraq is "unprecedented", that's just not true. It is what happens under any colonial regime when the invader sets about oppressing the native inhabitants of its new colony.
Can I just step up here for a minute and say I'm ashamed to be an American? Being an American means that atrocities are being committed in my name right this minute. Not only that -- my parents had atrocities committed in their name also. The Phoenix Project, the heinous thing upon which the current program of abuse in Iraq is based, was implemented during the Viet Nam war.
Here's a link where you can read all about it, and hopefully weep: http://www.thememoryhole.org/phoenix/
Here is a link to the official Army investigative documents about the prison abuses in Iraq: http://msnbc.msn.com/id/4894001/
So if anybody tries to wring their hands and tell you that what's going on in Iraq is "unprecedented", that's just not true. It is what happens under any colonial regime when the invader sets about oppressing the native inhabitants of its new colony.
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