Two Kinds of Violence...

Did you realize that not all violence is created equal?

The difference between watching violence in a movie and in the news is very subtle, but very, very significant.

Consider watching, say, an explosion, or a car crash...
In a movie, the violence is fake. No one really dies.
But watch the same thing on the news, and you're watching someone die.

There's a difference, and whether or not you can feel it, there's a difference on your soul!

Consider that next time they show an event where someone (or many people) dies over and over and over and over and over and over and over.

Your daily perspective...

You are what you eat... you know this right?

In the same way that the food you consume provides the building blocks your body needs to function (grow, fight germs, heal, etc.) so too does the media you consume provide the building blocks for your mind.

Seriously.

So what's you're media diet? As an example, consider music.

A person who consumes media content rich in classical music will have a different life outlook than one with a diet rich in pop, or rock, or rap, or heavy metal, or even jazz. (I love music; I'm not making value judgments here, just making facts.)

Works for video too. A person who watches too much violence not only becomes more desensitized to it (over-exposure to anything desensitizes) but they, over time, will develop violent tendencies.

Nonsense, you say... I watched Bugs and Daffy cause (and suffer) lots of violence, and it didn't effect me! Well, that wasn't violence, that was humor. Think about it... Pulp fiction is (supposed to be) violent... Bugs Bunny is (supposed to be) funny. When the bomb blows up Mr. Coyote, his face is all blackened and his hair blown back. That's funny. If it showed his guts flying through the air and blood everywhere, that's violent. Family Guy drives this point home in a spoof where Elmer shoots Bugs. Instead of the normal "cartoon violence, " we see graphic images of Bugs writhing in pain, disemboweled, with Elmer standing over him, delivering a final neck break.

I'm uneasy about making violence funny, too. There's just too damn much of it, especially to be used as a vehicle for entertainment. Shrug. Maybe it's just a symptom.

Well, hear me now, believe me later, but it's for the same reason why brainwashing works. Constant, repeated exposure alters behavior.
Constant, repeated exposure alters behavior.
Keep that in mind next time you pan through the TV guide!

Music ... Food for the Geek

I'm so excited to have just rediscovered a large library of music (250+ hours) that I have not heard for nearly 20 years! Not just any music, mind you, but music that deeply inspired my own compositional style!

Wanna hear for yourself? Okay, check out the following two links, but don't worry about the graphics or what they are, I'll explain that later... for now, just listen to the music.

• Unreal
• Second Reality

Perhaps an explanation is in order? First some context on the music. Nearly 20 years ago, while in college, I was writing music for video games. This was a significant challenge for me because I was used to composing music using MIDI sequencers and synthesizers. In video games, the computer became the instrument.

Recall that this is before .mp3s and before the comparatively huge resources computers have now... back then, most computer programs were under 1.44Mb (they fit on a floppy disk) and most computers had, if you were lucky, 1/2 Mb of RAM available for everything... the operating system, the program, and the music. A typical mp3 is six times that large!

So, making music on a PC, or making a PC make music, was tricky business! When I started we only had four 'voices' where a voice could be a sampled recording. Again, there wasn't mp3 compression back then, so the samples had to be TINY (and recorded at awful quality) or you wouldn't have enough memory to play it. When I stopped (because grad school got too hard), we had 16-track editors, but again, you didn't have much memory to work with.

That first link above? Just four voices! The second one? Eight.

But what about the video? Have you ever heard of the PC Demo scene? The idea, back then, was to show off the processing power of the mighty 386. Again, this was waaay before today's quad and dual-core Pentiums. Your mobile phone is probably faster now. Amigas were doing it for a while, and they would have parties where groups of kids (programmers) would write these elaborate presentations filled with (then) mind-blowing graphics and animations ... you know ... things never before seen on a computer? That kind of stuff. As a young college student learning advanced math, computer architecture, and assembly programming, I was instantly hooked.

You had to be clued in to find them... this was before the Web. They were mostly European-based parties. And since it was a party, attended by people who were into real-life discos, the music had to rock as well.

It was all incredibly synergistic... listening to that music, watching the computer do animation tricks I'd never seen before, while at the same time gaining the knowledge needed to understand how they were built. It was also my first exposure to Rave/Trance/Dance/Electronica music, and I didn't know what to make of it. I couldn't break it down like songs on the radio because it was mostly effect-based, but I fell in love with it. I searched out every composer in the scene, every demo, and I saved those tiny music files. It was my first data-harvesting experience.

You know I save (and organize) everything digital, right?

So now, nearly 20 years later, imagine my surprise when I realized that the same mp3 player I've been using since that time (Winamp) plays all those files! With its help, I've now taken those 400 songs and turned them into mp3s! Listening to them is like a comforting reunion with an old friend... I'm filled with the energy and joy I once had... before the gender dysphoria set in... before life got complicated.

I can't wait to see the effect that consuming all this music will have on my composing! :)

Send me an email if you want a copy! (Oh, as an example of how tiny the sound files had to be... all 4,543 songs are less than 972 MB as originals; as mp3s, they are 16 GB! That's a 16-to-1 reduction over MP3s, which are themselves 10-to-1 reductions of CD-quality audio!)

Trans... not gender! Transcoding! (Resolution #4)

Our life is frittered away by detail. Simplify, simplify.” — Henry David Thoreau

Been going through a lot of old media lately, converting most of it to a common format. At this very second, there's one computer busy burning DVDs to disk (275 down, approx. 200 to go), one computer converting VHS tapes to mpg files (56 down, 18 to go), and one converting paper to jpg files. That's going to take a while. I mean, once the books are done, then there's the sheet music, and then all of the folders and papers from 10th grade through 23rd grade. (I'm not kidding!) That's the easy part... scanning the books is what I'm not looking forward to.

Fortunately, all CDs were converted long ago as was most video and photographs.

Why do this? If not just to simplify my environment and reduce entropy (dissolve it, actually), then think of space... right now what non-digital media I have occupies two bookshelves, a filing cabinet, and three boxes. I could reduce all of that down - with no loss in quality- to something the size of a deck of cards.

I don't even want to think of the work saved in moving just one more time.

It's all part of a larger plan for a happy life:

Step one, eliminate non-essential material goods. Toys, gadgets, knick-knacks, clothes, everything not needed, and everything which doesn't do something in the simplest way.

Step two, digitize personal media.

The result? Light living! It's scary at first, but is freeing at the same time.

In case you're curious, all together, everything will fit on three stackable, 1-terabyte drives, altogether about as large as a shoebox. Not bad for every photo, CD, DVD, book, notebook, VHS tape, cassette, and CD-ROM I've ever owned, ay? Still, I look forward to 10 terabytes in your pocket, or better yet, on a chip! :)

197 DVDs to go...
16 VHS tapes to go...
172 Books to go...
13 years of school notes to go...

Deconstructing Gwen

Gwen Hughes is an angelic Diva that I am honored to call my friend. While I am merely internationally ignored, she is internationally renown for her performances and songwriting. Yeah, she's that good! If you want to hear for yourself, why not take a moment to check out her Electronic Press Kit?

She's humored my pesterings of musical questions and nurtured my ambition to produce a new, modern-Euro sound for her music in the past, but now she's gone one further... actually collaborating with me on two new songs of hers!

Now Gwen and I are two very different musicians (if I can even call myself that). We often talk at great lengths about how different our worlds are. True, I have modest keyboarding and music-producing abilities, but this woman sings and plays piano for a living... a real professional.

So I eagerly accept the opportunity to "re-produce" or "re-mix" one or two of her songs... but can I do it???

Well, I found it quite amusing that path I had to walk to be able to absorb her music, and so I created this post... let it bear witness to the genius that is Gwen.

Input

Two mp3s arrive in my mailbox. I eagerly listen to them. On first glance, they seem like complete songs... drums/bass/keys/vocals (all done by her). I play along with them, figuring out the chords (more or less) as the songs play and I think, "yeah, I can do this."

Now I should spend a moment discussing the ways one can go about re-mastering a song. The first method, identical to the way a DJ would re-mix a song off the radio, is to use the song itself as the building blocks to create a different song. The entails sampling the song into lots of little bits, which itself might require some audio processing.

For example, let's say I want to use a bit of the song as a base for a new song, but the part I want to use has vocals on it that I don't want. Well, you can consider a song to be like a layer cake: at the bottom layer (the lower frequencies) is the bass, and other instruments are found occupying higher layers. (Drums, especially hi-hits and snares, comprise the highest frequencies.) By using audio processing techniques, I can "cut out" instruments (even voice) from the original recording!

But, due to the fact that sound "leaks" between the layers (as harmonics) the end result isn't as nice as if I had started with clean recordings of each individual instrument.

Add to the fact that I'm serious... I want to create a 24-bit, 44.8KHz recording... and that I'm starting with a .mp3 (which is already lossy) and you'll soon see that any end result I do would have to again be redone with higher-quality source material.

It's not like me to do something 1/2-way.

The second approach, also widely used, is simply to re-create the song first, using local instruments, so that one can start with high-quality recordings. A bonus of this approach is that if done properly, one gets more than just a recording... one gets a capture of the creation process that can be edited (say, changing a note, or a trumpet to a sax)!

I knew before Gwen ever sent me anything that I would want to use the latter approach. Why? Because I'm a musician... I feel like I have a larger expression with MIDI data than I do with MP3 data. Besides, if I'm going to help write a song, I think it's reasonable to assume that I could play the song.

The Devil's in the Details

But with Gwen... that turned out to be a much larger problem! See, Gwen is a professional jazz musician... her stuff is a bit more complex than the usual drivel that I was used to on the radio. (Even the "sophisticated" stuff I listened to is pretty simple by comparison to jazz.)

While I could play along with her songs, I was a LONG way from being able to reproduce what she sent. I could add to it, but not create from scratch. No matter how hard I tried to hear what was going on, it was stuff I had never heard or seen before and I was stymied.

I knew however, that if I just watched her play the song once, I would be able to reproduce it. God has blessed me with that skill. So, frustrated, I called her and asked for the chord charts. This would at least verify that my chord guesses were correct.

Well, after busting my chops (rightly so) for not putting more time into learning the song, she sent me the charts. (Thanks!) I now owned a few pages of symbols that, when presented to a musician might actually "sound" like a song- but in my hands, were just stark reminders of how much I was not a jazz musician. Armed with a map to the song, I began my quest.

Creating Audio Samples

The first step was to take her mp3 and break it down structurally in a way that it would be represented on a chord chart. To do this, I loaded the song into CoolEdit and meticulously set markers corresponding to the start of key measures in the song.

The next step was to get my recording studio setup. For this part of the song, I needed a mixer, drum machine, and samplers for the bass, piano, and strings. That was the easy part, harder is programming the instruments!

I started with drums. The song only has a basic 16-beat drum pattern looped, so I figured that would be a good place to start. Using the samples I just created, I figured out the beats per minute (113) and set up my recorder to loop over the first 16 beats while simultaneously playing the first 16 beats of her song. I listened to that drum pattern over and over on a loop until I could anticipate each beat. Once I could play the drum pattern, I programmed the drum machine and took a deep breath in preparation of doing the same thing with the bass and piano.

Normally, I can pretty much play along with a song on first hearing, but *replicating* a song is completely different. "Anal-retentive" attention to detail comes to mind. I won't say how many times I had to listen to just the first bar of the bass+piano, but a few hours later, I had something close!

However, this was just "replicating" ... this wasn't "playing." With heavy rhythmic devices like drums and bass, this is okay, maybe even preferred, but with other instruments, the result sounds ... mechanical. So, I quantized the bass (forced the notes to align on specific beats) and armed with the chordal structure as well as a close approximation of exactly what notes were being played, I put the the drums and bass on a loop and tried to "feel" the song. In other words, I had to "figure out" the unconscious little motions that Gwen used to make her music. (This is why it's easier to do if you can actually watch someone do it!)

Now, I won't say I replicated exactly her fingers, but it's really close. If anything, I have a tendency to "hear" more than what is actually there, so my recording might be a bit "heavy-handed" compared to her delicate fingerings. That's okay; now that I have the notes in MIDI format, I can delete (or edit) them later if needed.

And so, after a total of around 8 hours of work, I've replicated about 25 seconds of the song!

Recall that the point of doing all of this isn't to replicate the song, but to START from that point. So, I'm looking at more hours of tedious work before I can actually start to be creative and start contributing to the song.

Well... no one said it would be easy! Of course, I'm sure for some people, it is!

If you're curious... here's Gwen's original recording and then my version. The instruments might sound different (easily changed) and the volumes might be different (easily changed) but the notes and rhythms should be there. And, even if they are a little off, I can change them too without having to re-record. I love making music ... well, I will when I actually get to make it! :)

Wicked Little Town

Most people have never heard of the movie, "Hedwig and the Angry Inch." This is unfortunate for many reasons. First, it's a great movie, evolving from a ground-breaking NY play. Second, it touches on (in a positive and uplifting (but not cheesy) way) some very complex themes that are of significance to those outside the transgender community. Finally, the soundtrack was written by one of the best songwriter/composers since Cole Porter- Stephen Trask. The man is pure genius.

On of the songs, Wicked Little Town, is really two different versions of the same song. The first part is sung by Hedwig, and is a soothing poem to her masculine half, here represented by the androgynous Tommy Gnosis, and the second part is a response from Tommy to the feminine side represented by Hedwig.

As I said, the movie has complex themes... the soundtrack is more so. (And I haven't yet talked about the song written based on Plato's Dialogs!)

Anyway, this song faithfully represents to me both halves of myself struggling to make sense of it all, and of my experiences in Muncie (and around the world).

First, Hedwig's version to the young boy she loves who is in the same situation she was in when she was a young boy, and, the situation I find myself in now.

You know, the sun is in your eyes
And hurricanes and rains
And black and cloudy skies

You're running up and down that hill
You turn it on and off at will
There's nothing here to thrill or bring you down
And if you've got no other choice
You know you can follow my voice
Through the dark turns and noise
Of this wicked little town

Oh Lady Luck has lead you here
And they're so twisted up
They'll twist you up, I fear

The pious, hateful, and devout
You're turning tricks 'til you're turned out
The wind so cold it burns
You're burning out and blowing 'round
And if you've got no other choice
You know you can follow my voice
Through the dark turns and noise
Of this wicked little town

The fates are vicious and they're cruel
You learn too late you've used
Two wishes
Like a fool

And then you're someone you are not
And Junction City ain't the spot
Remember Mrs. Lot and when she turned around
And if you've got no other choice
You know you can follow my voice
Through the dark turns and noise
Of this wicked little town

And then we have Tommy's reply, also a painful realization of my present condition:

Forgive me,
For I did not know.
'Cause I was just a boy
And you were so much more

Than any god could ever plan,
More than a woman or a man.
And now I understand how much I took from you:
That, when everything starts breaking down,
You take the pieces off the ground
And show this wicked town
something beautiful and new.

You think that Luck
Has left you there.
But maybe there's nothing
up in the sky but air.

And there's no mystical design,
No cosmic lover preassigned.
There's nothing you can find
that can not be found.
'Cause with all the changes
you've been through
It seems the stranger's always you.
Alone again in some new
Wicked little town.

So when you've got no other choice
You know you can follow my voice
Through the dark turns and noise
Of this wicked little town.
Oh it's a wicked, little town.
Goodbye, wicked little town.

Musically, the song is not like anything on the radio. Check out the chord progression on the chorus: G7/D, C, Cm, G, G7, C, Cm, G. The Beatles used to experiment with chord progressions going from major to minor of the same chord, but you just don't hear that kind of stuff anymore. Throw in some arpeggiated bass lines with right hand quarters and you've got an idea.

I'm trying to sing and play this song but am having difficulties because of the interplay of rhythmic patterns throughout the voice and right and left hands. Let alone the fact that I don't know how to sing with any known technique! But I'm trying. The song is so beautiful and the effect is so strong when I've only just barely played it, I can't wait until it's second nature and I can simply emote the song instead of actually trying to play it.

By the way, if you watch the movie, don't confuse how a transsexual looks in everyday life versus how she looks on stage... it is after all, a movie about an eastern European punk-rock band! We don't always wear metallic eye-makeup with sculpted blush! (Well, okay, we do, but there are the in-between moments when we are washing it off!) :)

Stephen Trask Is A Musical Genius

Great lyrics, great music!

On Love:

But I could swear by your expression that the pain down in your soul was the same as the one down in mine. That's the pain, cuts a straight line down through the heart; we called it love. (Origin of Love)

On being a post-op transsexual:

When I woke up from the operation I was bleeding down there. I was bleeding from the gash between my legs. My first day as a woman, and already it’s that time of the month! (Angry Inch)

On perseverance:

Forgive me, for I did not know. 'Cause I was just a boy and you were so much more than any god could ever plan, more than a woman or a man, and now, I understand how much I took from you. That, when everything starts breaking down, you take the pieces off the ground and show this wicked town something beautiful and new. (Wicked Little Town)

On being transsexual:

I look back on where I'm from, look at the woman I've become, and the strangest things seem suddenly routine. (Wig in a Box)

On healing:

Breath. Feel. Love. Give. Free. Know in you soul, like your blood knows the way from you heart to your brain, know that you're whole. (Midnight Radio)

On moving from London to Muncie:

'Cause with all the changes you've been through, it seems the stranger's always you. Alone again in some new wicked little town. (Wicked Little Town)

Leap of Faith

I've been preoccupied lately, mostly with trying to fight the rotting away of my soul in this spirit-sucking swamp, all the while slowly biologically dying on the inside. I fear it's a losing battle. Please bear with me while I seek higher ground.

My only joy comes from playing an old digital piano. It doesn't sound like a real piano, or even a cool digital one, and it makes me miss the one I left behind in London, but it's all I got and I play it for hours on end. Recently, as I started to compile all the songs I've written, I came across one that I had nearly forgotten about, "Leap of Faith."

I wrote it at the end of a three semester-long humanities course in college. In that class, we read - I kid you not - a stack of books 6 feet tall ranging from the oldest known human texts, to standard religious and political texts, and also the works of notable scientists and philosophers... as well as your basic world literature. No doubt it was the beginning of my consciousness, taking a small town hick mind and exposing it to the greatest minds of Western history. Thank you, Dr. Jennings.

Anyway, at the end of this course, we had to write a long dissertation - a what we learned kind of thing - and at the time, I was less fond of writing and typing and more prone to composing music. So, this being a new-agey kind of class, I got permission (commisioned?) to write three songs - one for each semester - summarizing my experiences in lieu of a (mere) 20-page paper.

Leap of Faith was one of those songs, and represented that tipping point in human history where man dared to say, "God is dead," but before (Western) man had developed any alternative philosophies to choose from. In other words, the song represents man's struggle to find meaning in the darkness he just created. (At 19, my world-view did not yet encompass pagan and Eastern philosophies, so experientially, for me, it was also a period of spiritual darkness.)

As I look over the words I wrote oh so long ago, and as my fingers remember thousands of notes and rhythms they once knew, I am forced to wonder, "Have I discovered another timely message to my future self from my former self?" I mean, I don't care who you are, 6 months of bible-thumping believers holding hands and praying before every meal will get to you ... eventually.

I'm reminded of that young mind who wrote the song, obsessed with nothing but getting the fuck out of dodge. And here I am, nearly 15 years later, back where I started.

Here's the original recording featuring a good friend of mine, David Hines on vocals.

Leap of Faith

words and music by Clio
vocals by D. Hines

(verse A)
Poor little man, someone's
Taken you by the hand,
Told you nothing you could ever do
Would make a difference at all.

But don't you know that
Soon we all must go?
And the world will go on existing
As though you never did.

(verse B)
So now you fear that every
Thing you hold so dear is gone,
And you won't let go of them.

Well I guess
From the looks of your mess,
That they won't let go of you.

(bridge)
Can you make another day,
Or do you have to stay home and pray
That the world will make some sense to you somehow?
Can you take the leap of faith?

(chorus)
If you don't know you'll be safe
In a world that makes no sense to you at all?

We just have to start anew,
Redefine what is true,
and take nothing for granted anymore.

(verse A)
Oh I heard you shout,
You had to let it all out,
"How can I go on when every thing
I ever knew is no longer true?"

Hey little man,
You have to understand
That faith is not logic
And knowledge is not faith.

(verse B)
Did you run and hide and scream
From inside your fortress
When you heard that God was dead?

Your soul is free,
Why don't you let Him be
From the thanks for your daily bread?

(bridge)
But will you help your fellow friend,
And will it matter in the End,
When we're ashes to ashes and dust to dust.
What's the point in tryin' at all

(chorus)
When everyone is building walls
With signs on them that say, "Go Away from me."

(piano solo, repeat 1st chorus, end)