The ShoEnTeL Report

'Forget' 'em, Cee Lo: Lennon Wasn't Jesus..Nor Wanted To Be

2012-01-02T15:14:00.000-08:00

The Bashing Of Cee Lo Green's NYE performance of 'Imagine' in Times Square has familiar ring of piousness from purists who don't know their own 'God'

KC Shoen

John Lennon once complained during his time in self-imposed exile between 1975 and 1980 that no one was performing any cover versions of any of his previous solo work . Since he had stopped being musically active, Lennon was suffering from the effects of what I term as ' Billboard Chart Absenteeism': having had a successful commercial run prior to his second son's birth, Lennon had awakened to the fact that he was no longer 'present' in the music scene, and found it quite disturbing no bands were wanting to record, nor perform, their own versions of 'Give Peace A Chance', 'Working Class Hero, or one of his biggest 'Imagine'. According to an interview with Yoko Ono, upon hearing this from her husband, responded, "maybe they're afraid to do so, not wanting to disrespect your work."

If this is accurate, the absolute pummeling of Cee Lo Green by so-called 'fans' of JL are themselves the complete draconian alter-worshiping trogs in this ridiculous chastising of Mr. Callaway. Any informed fan worth their salt would know this, also by tracing Lennon's own exploration into different genres just prior to his death in 1980. One of his last works "Walking On Thin Ice" was a dance track he constructed with with his wife, as Lennon wanted to experiment with a new sound he had come into contact with in the New York post-disco music scene via Yoko Ono, a sound which would later come in to the popular mainstream identified as 'New Wave.'

This was they very cassette of the song JL was clutching in his dead hands when that delusional psychotic purist-freak Mark David Chapman, drunk on JD Salinger and religion, decided to empty his revolver into Lennon outside the Dakota.

Chapman was a self-identified 'disillusioned fan' of Lennon. So much, he decided it was up to him to annihilate the 'phony' he felt JL had become. Lennon wasn't 'pure' enough to be allowed his freedom to live as a husband, father and human being, and had to punished for his violating his stature upon the alter he had ascended to, adjacent to that of Jesus Christ and Elvis.

Chapman had, at one time, worshiped at that alter, and carried out his ' moral duty' as a disgruntled 'parishioner' of that 'church', to issue a 'correction.'..

As a disillusioned fan.

As a songwriter and performer, Cee Lo thought it advantageous to perform 'Imagine' with some alteration of the original lyrics to give it a present-day relevance and make it his own: which is what great singers often attempt when they perform any 'standard' that is exceptionally well-known like Lennon's classic. During the course of that performance, at around 11:56 pm, things immediately went from engaged harmoniousness to puritanically stupid when Mr. Callaway diverged from the original lyric "and no religion, too" with the words "and all religions true",in which audible gasps and reactions within the audience could be faintly heard. No sooner than he had completed the set, Cee Lo, anticipating backlash on a tsunami scale , quickly tweeted

"Yo I meant no disrespect by changing the lyric guys! I was trying to say a world were u could believe what u wanted that's all"

Poor Bastard. Mr. Callaway had not a inkling that his reflective treatment of this lyric (which I found refreshing) would make him a repository of utter bombast and pugilistic swill fit for a morose, crystal-meth infused New Year's brawl at the local trailer park. The priggish Lennon purists, attempting to come across as having their stately, pseudo-intellectual sensibilities utterly vandalized in having their 'God' desecrated in the name of performance were the most hyper-critical..and the most venomous.

Understandably, he went on the defensive through his Twitter account, but could not keep up with the steady barrage of 'bullets' being 'emptied' into him, and wisely discontinued, even removing the tweeted messages as promptly as he had posted them.

It isn't just the acidic nature of the backlash that's disturbing: much of it wasn't worth the waste of energy to digest. It was the context of the vitriol I found astounding, even hauntingly familiar in tone and timber to the mindset of one infamous crackpot who turned December 8th 1980 into a day of execution for a guy who was merely returning home from a fantastic recording session, trying to enter his apartment so he could hungrily playback the cassette he had clutched excitedly in his hands. Excited by what he and his wife just 'cooked up' in the studio. He just wanted to get inside, listen, and 'feel it'

But the last thing he would 'feel' were the hot spikes of painful entry wounds from metal shells delivered to his body by his executioner's handgun.

His executioner: A fucking psychotic, emotionally underdeveloped murderous dweeb from Ft. Worth Texas:

A fan of John Lennon

In the immediate aftermath of this, I recognized this borderline psychosis, which leads me to ascertain that avid Lennon fans are no different from the modern day 'Pontious Pilate' who 'crucified' their 'lord' on that doorstep on a dark Monday night one December. For all of the completely rancorous diatribes Cee Lo needlessly received immediately after that performance, I have to assess that these 'fans' are just like Chapman: ready to render judgement on anything that appears to be desecrating their fervent worship of John Jesus Christ Lennon, even stating heinous shit such as wishing Mr. Callaway's death. 'Fans' have demonstrated they are no different from JL's assassin: it is the same mindset, just different weaponry. So, for all of you that took trouble to defend Lennon's 'alter' by assaulting Cee Lo, I got something for you, because I do understand that 'facts' 'acceptance' and 'information' are vocabulary that are beyond your realm of feasible understanding.

Yoko Ono sanctioned the performance
Cee Lo, under the full blessing of Mr. Lennon's widow, (and inheritor of his Estate, by the way) rendered the performance with her approval. It made perfect sense to have Cee Lo give this performance, as he is a muliti-genre performer whom is highly experimental in his sound, and on top of his game currently. It is most likely what JL himself would've sanctioned, given his own experimentation toward the end of his life (Take a listen to this as evidence, that's JL on the guitar and keyboards).

John Lennon had a diverse music appreciation
Being a musician and songwriter, JL's taste in music was pretty broad. In his early years, it was Elvis, Fats Domino, and even George Formby. In his latter years, he had a particular ear for emergent punk, disco, 'soul', and New Wave just prior to his death. Cee Lo was the perfect representative of this diversity to do "Imagine", as his tastes in music vary from motown, Hip Hop, to Hall & Oates to Journey. Lennon recorded with a fairly broad spectrum of other artist such as Elton John and David Bowie; Cee Lo has worked with similar diversity in talent, such as OutKast, Santana and Danger Mouse.

and lastly,

You wouldn't be hating Cee Lo if he had done the same thing looking like Michael Buble
Face it, 'Lennon fans': if the dude came on stage looking like that lilly-white Canadian crooner, there wouldn't have been the backlash. Buble would have probably done something similar to the lyrics, for like Cee Lo, he's actually very intelligent with a wry sense of humor, who would've understand the exact nature of the importance of that moment, considering all the divisive conflict in the world..

Instead of getting a 'safe'-looking caucasoid, you got a diminutive, bald-headed, African-american who doesn't 'look like one of 'us'": Cee Lo is NOT 'safe': his sardonic use of language and suggestive lyrical and vocal inflections contained within his music coupled with his will to take creative risks even in the face of ugly criticism is one of the reason he resonates so succinctly with music fans of all stripes. He is doing things in popular music most mainstream acts don't have the intestinal fortitude nor the insight to do: just 'be', and be honest doing it, warts and all.

Just Like Lennon.

Lennon took a risk leaving the Beatles, and marrying a woman who WASN'T a blond-haired blue-eyed photographer from New York. And while P-Mac's wife Linda got mad props and love for working with her hubby as a member of Wings in the 70's, JL got completely pasted when he and his Japanese wife did the same thing with The Plastic Ono Band. Linda McCartney was canonized as a charitable soul up until her death. Yoko Ono to this day is villainized as some kind of greedy, tormented, evil fascist who was accused of single-handily destroying the Beatles, and in kind, with regards to her husbands legacy when he was violently murdered.

Putting it bluntly, its a 'race thing' for you elitist Lennon-worshiping sock puppets. From the baby-boomer realm of that "kingdom" to its youngest 'enlistees' it is all about this alleged 'purity' of his music that should not be 'touched' by the dirty hands of the 'lesser talented.' You are, and have become the very thing that JL railed against in his life, and are a part of the very mentality that killed him.

The irony is immeasurable. You should be embarrassed.

Cee Lo exhibits creative traits similar to Lennon, this is precisely why Yoko Ono invited him as her guest to sing 'Imagine'. If you knew your history about the Lennon's in relation to those who are avant-garde in their own rite, this selected performance made perfect sense. It's one thing not to like it, fair enough. Quite another to errantly start shooting bullets of vitriol at the performer himself because it doesn't meet with your elitist and puritanical approval.

I'll end this on this last note: I have met Cee Lo, and know he is extremely appreciative of all the attention he's received. It's not 'lost' on him, As he stated to me during our meeting in regards to the blazing success of 'F*** You' "It's has taken on a life of its own. I'm just trying to ride this wave wherever it is going to take me. It's unbelievable..and overwhelming."

So..my final response to you purists out there is this:

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Six20Five: A Retrospective On Michael Jackson, A.D.

2011-03-12T18:10:00.000-08:00

On the heels of the release of my new single 'Six20Five'; a song about my experience in the apex of Micheal's passing in that exact moment, it is time to state where I 'sit' in that 'theater'

KC Shoen aka P.N.G.

CEO ShoEnTeL Music

My single 'Six20Five' in its 'raw', instrumental state. The song is currently in production with a release date targeted for April 2011.

I post this not as a 'fan' in any sense, nor as one whom ever 'hated' Michael Jackson. It's been a year and a half-plus since his passing and I have an aversion to jumping on major pop culture events with any immediacy. The mainstream media has the necessary trolling wunderkind to feed the masses; joining these illustrious miscreant harbingers of brain-swill whom cater to the perpetual ADD of the tabloid/ celebrity obsessed rank-and-file isn't my thing.

The only rendering of anything resembling halfway-intelligent was this article written on Huffington Post by Bernard-Henri Levy, a French philosopher. Even this rendering, as abstract as it was , still did not cover the substance of Michael as it pertains to his upbringing and eventual passing which I believe are correlative

I am also someone whom, quite honestly, is extremely judgmental of those who use their children as vehicles of vicariousness for their own social and monetary gain. I state that not as some progressive-minded, self-righteous asshole.

I say it as a parent.

I was admittedly filled with bile when Michael was acquitted of the molestation charges involving several children back in 2005. I was also incensed at the gallery of assembled affluent rubes that inhabited the jury box, sequestered in that 'live performance' venue masquerading as the Santa Barbara Municipal Courthouse. Further insulting to the senses was prosecuting attorney Sneddon and his unctuous ambition at attempting to 'collar' one of the most recognizable, ever-evolving and surgically desecrated faces in the universe. The entire event was nothing more than a controlled dress rehearsal for the media; 'Circus-Circus' for the celebrity-obsessed and voyeuristic. The train wreck was for too compelling to just merely 'drive by'.

For all this, I did, at the time, assume guilt on Micheal's part.

My narrow vision did not afford me access to the simple acknowledgment that what I deemed as impenetrable boundaries was not in direct context to Micheal's. As imperfect as my childhood may have been in large segments, I was at least afforded the opportunity to grow from meaningful play, social interaction, and being allowed enough room to really 'fuck up as I need to' within the confines of my familial sphere. Room enough was given to let me learn and be.

There are reasons for his 'failure' at adulthood. These reasons will absolutely piss off those who feel the Jackson family are imperically above reproach. If you are one of those, this isn't for you. As George Carlin once said"...you may want to skip this one."

The obvious is certain: Michael wasn't given brevity to be present in that illustrious strata known as childhood, draw from those most basic of experiences to build further through the beign of adolescence en route to an adult life that could afford the space of true maturity and contented being. Period.

This track, an extremely personal telling of a successful human being not ‘whole’ due to a childhood that was non-existent and unrecoverable, in my opinion, is Micheal's best work, as it is his most honest and unabridged.

This brings into focus a largely ignored, unobserved point: one that is missed in every well-written epilogue of Michael Joseph Jackson that bears mention, and was the acting catalyst in his dynamic peak-and-valley: The ne'er-do-well quasi-Svengali who, through his own pugilistic vitriol and substantial mediocrity could only hope to climb the Pyrenees of such monumental fame and fortune...

Joseph Jackson.

And his role in the destruction of Micheal's 'base' development is an excellent place to begin, as he , being an ambitious familial entrepreneur, was willing and participatory in the abuse of his own children for the sake of attaining high status at the altar of fame, is directly reflective of the dark ardor of our culture, where extreme wealth and success achieved through the scepter of psychopathy is not only accepted, but assumed as some altruistic rite of passage.

Tragedy from such behavior is addictive to the American psyche, as it enlivens our lust for drama merely for the sake of substitution in the station of our collectively ordinary, even mundane lives in this country. Escapism; even if it means that the humanity of the ones we hold in adoration get compromised, is elemental to feed such hunger to stave off the focus the inanity many of us dwell in.

We love to see success on a completely ridiculous level, but we love it more when that success becomes poisoned; when the mighty fall. It is a natural form of involvement for which we are participatory, but it belies the background needed to achieve nuance and compassion, in particular to someone like Michael.

The Construction of The Jackson 'Bordello'

'Prostitution' is not only sexually connotative, as it also pertains to those who would and will abuse their own brood for their lust of self covenant. Joseph Jackson was and is such a 'proprietor'. The realization of Joseph's own failure to conquer the mainstream with his own forgettable music lead to 'ascension by descension'; to attain a seat in the house of Babylon where he could feed his need for solipsist desires which rivaled even that of Nero's. He needed to enslave and belabor his own brood: housing his songbirds in a cage fit for rats, with himself as master,benefactor, and architect.

Through this salacious prostitution and abuse, Michael Jackson became the most obvious as one who could bring to Joseph the highest return on this investment. Michael, along with many of his siblings lost value as human beings as the adulation and compensation took on stratospheric proportions. They were as capital: to be used and bartered, exchanged and sold as desired and coveted by Joseph the Architect. Michael was the most developed and sophisticated product in his cage, the most lucrative.

The overhead cost to Michael in this Babylonian pursuit was that of his childhood, which was compromised immediately for the sake of the senior Jackson to quickly satisfy his lust without question nor conceit: Just business. As all the world was idolizing Michael and 'loving' him, Joseph begrudgingly had to release Michael from the rat cage where he had incubated and be released upon a world which he never interacted beyond his capacity as a product.

The 'Berth' Of the Man-Child

Michael was denied access to his own childhood, of which we get our rudimentary practice and programming to prepare for adult life, programmed further with its morals, mores, precepts and boundaries. Micheal's denial into this pre-development stage placed him in suspended animation, for which he simultaneously was remedial in mental and emotional maturation and learning anew; attempting to be in context yet furiously attempting to grasp a reality befitting his own stunted development. These two separate realities are what defined him, denied him, and enabled his demise. They were never at peace with one another, constantly struggling for prominence and relevance simultaneously. It was much like thinking, speaking,eating, and drinking: all needful actions in the human experience, but cannot be performed at the same time.

Without a map from childhood to build fundamentals, new fundamentals take shape that may have defied social acceptance, and harmed rather than perform the intended function of enhancing and augmenting knowledge, maturity, and emotional well-being. Joseph not only was a thief in his son's childhood, but is proud of the 'product' he nurtured and created by his thirst for his Babylon: children be damned for the expense of his need to assume the title and throne of the world's most shiniest product of all: The Jackson Family Musical Aristocracy. All to ingest,inhale, and fornicate at his leisure at the expense of his most talented songbird, whom no longer can produce, whose cage now barren, whose legacy is more important than his living, breathing human son that created it.

There was no reason for Joe to interrupt his private fuck-fest..not even to honor the very person who provided his ability to live in the decadence he had become so enamored with.

No, there wasn't any reason for Joe Jackson to stop long enough to secure his tongue in his gob, and remove his hand from the steady stroking of his creamaster to look neither skyward or earthbound to eschew a single solemn whisper of farewell or gratitude to his child, as the Master Architect need only further masturbation, and reasonable transport and conveyance to return and resume the orgy

Adulation as Rat Poison

"Scream" (1995)The end-game from the little trick Michael pulled on the tabloids in '86, and the years of perpetual media violation and vitriol come to a head...

Michael possessed a whimsy in his childlike stasis that gave him a impish foresight few 'real' adults can access. In 1986, he decided to game the tabloid media,( whom had been friendly with him, but somewhat invasive of his privacy), and willfully release false information about eccentricities in his personal life that were largely inaccurate. Articles began to surface about his spending time in hyperbaric chambers to combat aging, attempting purchase of famous skeletal remains and other ridiculous hubris that he himself knew would lead large segments of the gossip-consuming general public to believe he was insane, stating,

"They'll believe anything {they} say, because {they're} reporter(s). But if I, Michael Jackson, were to say, "I'm an alien from Mars and I eat live chickens and do a voodoo dance at midnight," people would say, "Oh, man, that Michael Jackson is nuts. He's cracked up. You can't believe a single word that comes out of his mouth."

Michael successfully baited them, and, like a prepubescent prankster illegally setting off a fire alarm pull station at a fully-occupied Hotel in the dead of night, he alone caused both the tabloid and mainstream media to be derailed by their own frenetic and insatiable appetite for sensational and private information to solicit. Michael demonstrated, in a very sophisticated context, the absolute enameration of journalists and smut-writers to expunge celebrity for their own cheap advancement of product without benefit of neutrality, fairness and verification of information. This 'prank' exposed the tabloids in particular for being exactly what they are: vultures at the carrion, awaiting for the carcass to be just cold enough to pluck apart for the dining delicacy of entertainment rumor consumption.

Michael demonstrated a media savvy on an idiot savant level; such incredible vision and intelligence in being able to capture its forthright power and visual impact; while simultaneously exposing its glaring vulnerability. His own celebrity gave him confines enough to approach this element with great depth, but it also aided and abetted his downward spiral, for in the proceeding decade and a half, the media would work collisionally to defame him at such velocity it would lead him being accosted several different times by unproven allegations from those whom he trusted within his exclusive environment, and would encourage others in varying stations in life to pursue the hunting of his persona for personal chutzpa, money, and glory.

This being the result of the deadly elixir of Micheal's incredible brilliance and raw naivety. He hadn't any grounding as to the savagery of adult solipsis, ego and psychopathy. The insular life that was afforded him through his great fortune also was a detrimental Achilles heel. Through his early underdevelopment which carried on and further exasperated by his incredible fame, Michael was never able to grasp the nuance of this reality: some people just want to run you over for their own sense of worldly accomplishment, as if a competition. Michael did not carry himself as being fully aware of what a highly prized target of opportunity he was.

The Martin Bashir interview of him in 2003 found Michael getting baited himself, Bashir completely canvased him with finessed circumvention, and it was as if he intuitively knew where the edit breaks would come in the post-production long enough to impale Michale sideways by skewering his eccentric personality and behavior in those bookended slip-streams of commentary in the voice over monologue. Through the entire course of it, if one watches closely, Michael behaves with an assuredness that he would at last be taken as honorable in his personal life: that all would understand if they could just here him speak in full, and see him engaged.

Bashir got the better of him, as that was never the intended goal of the end-product. Before scoring the interview with Jackson, Bashir was a talking head of special commentary and celebrity wonking on the BBC. After the Princess Diana dish-of-an interview in 1995, where he attempted superfluous extrapolation into her divorce with the Slug-minister Prince Of Wales , he was considered not of caliber to handle the more juicer banality of mainstream media punditry. He was considered soft and innocuous, unable to unearth the deeper stories and bylines with gravitas in his interview style.

Bashir wasn't stupid: He had cleverly finagled an interview with Michael, and used his association with ITV (U.K.) as a pacifier, knowing that Jackson hadn't any further trust of American media outlets to allow infiltration into his private domain, particularly after the '93 accusations of molestation that nearly consumed him.

And once 'ol Big-Tyme Bashir landed on Planet Michael, and was granted unprecedented access to the The Leader of Neverland, it was 'game on'. It became a dissection of an almost surgical caliber; a very orderly, yet Machiavellian train wreck, with Bashir as the helmsman and in full control, sending Michael over the cliff metaphorically and literally.

Bashir was lambasted for his manipulative angling of Michael: making him appear as some demented freak whom would, if giving occasion and opportunity, would molest your children, yet alternatively, feigned compassion for his subject as a method of conveyance as misdirection. As per the fallout from this televised assassination, it was aptly summed-up by long-time Jackson manager Dieter Wiesner

"It broke him. It killed him. He took a long time to die, but it started that night (of the original airing). Previously the drugs were a crutch, but after that they became a necessity."

A Saucerful of Sycophants

Michael did himself no favors by surrounding himself with a pantheon of celebrity-serving 'yes' glitterati. It is not an uncommon practice, as entourages and service personnel are common among the rank-and-file celebrity culture, particularly the talentless tabloid 'celebutant' carrion whom willfully put themselves 'out there' a la Kim Kardashian, and Paris Hilton. Being insular and secluded from all objectivity and free of comprehension with regards to mores and boundaries aided and abetted by the core of Michael's hired help served as a requiem for his personal recklessness.

Recklessnes in regards to his relationship with children,which never evolved into a proper mode of maturation, complete with the necessary 'rules of engagement'. Quite the contrary: his relationships with children were engaged from the level of being as a child himself. The 1993 & 2004 allegations stemmed from that contextualized engagement: sleepovers, slumber parties, and sleeping in the same bed with children not his own caused a Pandora's box of woefully colossal proportions to be unleashed.

As the mounting perception of Michael being predatory towards the very terminally-ill children whom he was offering assistance to and had stay with him began to escalate in 2004, he began to fight back; rendering commentary and interviews for anyone whom lend a mic as to defend his nature. Michael's inner-circle also kept vigil, as those under his employ would also speak out, from Security Guards to secretaries in his defense. Only but a small few would rail against him, claiming he was sexually assaulting children and feeding them alcohol as a pacifier to weaken their resolve of resistance as he had his way with them.

To constantly be around those whom are at-service to you allows no real honesty to surface: They are 'your' people whom you pay, whom advise you, take care of your inner-space, and who also act as being in your best interest.

But in what context? Michael never really had one real friend or confidant corner him and say, quite adroitly "If you keep this shit up, Mike, you will be perceived as a child-raping pervert...and not because you are, but because no one outside your sphere knows that you're not." And if he did, he probably had ran them off of Neverland, most likely.

I believe the latter might be correct, given the monarchical existence Michael lead possibly caused intense intimidation for those who called themselves either his employees or confidants. Conversely, I believe also there was an unwillingness on Michael's end to allow anyone benefit of doubt to be caste if such honest discourse and disclosure was spoken. The 'King' is never questioned, and absolute power can corrupt any ability to see things unobstructed, and without filter. A real 'friend' will tell when your behavior might land you in prison, an enemy will manipulate you into being imprisoned, while a sycophant will tell you it is safe to step outside though there might wolves in the shadows, and at the ready to disembowel you, knowing that this is what you want to hear, irregardless your fate.

The sycophant is the recidivist troll, without character and compass, always ready to give what you wish so long as you allow them access to the Castle and to be allowed to continue to sample and claim membership to that imperial life that is not their own. The sycophant will also run a knife through the proclaimed 'King' they serve, if they know a huge payout or access to the a higher life can be achieved.

A Sycophant will lie at both ends to retain grandeur and status in some form. Even if lying to themselves.

This adjective could easily be rendered to describe the matriarch of The Jackson Aristocracy:

Katherine Jackson.

As she has admitted to her husbands past transgressions of adultery and physical handling of the brood early in her marriage to Joe The Architect. She, by her own actions in those formative years, allowed Joe to abuse and exploit the brood inpunitively and without recourse in those times. Attempts to 'correct' these transgressions via her faith and stoic charge came too late to save a situation which left many of the Jackson children severely underdeveloped socially and emotionally. Katherine's early passivity to Joe's handling of Michael , I believe , was on par with allowing one spouse to destroy a child in front of another.

I don't believe that The Elder Mrs. Jackson motivation was as materialistically self-interested as Joe's, nor was she not with any rudimentary compassion. but it didn't lack self-interest either. Many dedicated ecclesiastics work tirelessly to achieve the 'rank' of Sainthood: of being revered as Christ-like and Godly, as it carries its own title and privilege in certain circles, and is a translatable power by proxy in any context of public life. Politicians of all stripes have used this pious approach in varying forms. You can be perceived as 'untouchable', pure, and without imperfection; being holy.

Mrs. Jackson assumed the traditional role of Housewife and spiritual leader for the family, in part I believe, not just for posterity per se, but to compensate for Joe's less-the-admirable deeds as well as keep her personal legacy vaulted and unscathed within the family structure. It has been an effective tool in the past when she has had to conduct interviews with the media in regards to various Jackson family controversies.

It was, however, its own form of self interest at the expense of her children. Trading direct parenting in a realistic and accountable form for piousness. Whatever has befallen the family, Katherine has been the Martyr of The Highest Order, without real reproach or question, acting as its own armor to block any attempt at acknowledging mistake or miscarriage.

And I believe an equally damaging attribute, as it did not afforded a young Michael safety from the hands of his father. Katherine's stasis was the most toxic of all passive Sycophants in his life. The wolves dined accordingly on his death years later, through an illegally administered sedative by another Sycophant named Conrad...

In this January 27th 2011 innocuous interview of Rebbie Jackson on The View, the most telling detail of her proximity and position with the rest of The Jackson family is revealed slowly in the last 4 and a half minutes. In summary: She 'raised' Michael early on, is co- parenting Michaels kids Paris, Prince Michael I & II, and Blanket, and confirms that both of her parents live separately, although still legally 'married'.

Neverland Never Was

Several friends of mine whom had visited the Neverland ranch during its last remaining heyday describe a mural painting of Michael, themed with himself as Peter Pan amongst various children grouped together within the scene as you enter the interior of the mansion. The Peter pan saga has itself a protagonist whom never reaches adulthood, and slays adult characters , as all adults in the Neverland regions are inherently evil and wish to destroy the children, or enslave them in some capacity.

Adulthood, especially in the climate of the world we reside in being that of quasi-corporate plutocracy masquerading as a democratic one, the enslavement element now is more profound than ever in modern history. What Michael left behind is something more than an expansive discography of hits spanning 4 generations: he left behind a world in a complete sea-change. North Africa and the middle east are coming unhinged, as dictators and self-described men of the people are being overthrown, or in process thereof. Western corporations are attempting a mass coveting of the general public as to strip all of proper livelihood by undercutting and denigrating Unions and organizations built and designed to protect workers rights for the sake of insular profits...

The world is in Hell's elevator, and the bottom floor hasn't been reached yet. Michael won't be here when it finally does. The rest of us might be.

The song "Ghost" (which can viewed through the link inside the box from Youtube), is demonstrative of Michael's perpetual battle with the adult world. It is warfare, with him playing a perceived evil wizard-proprietor of a macabre mansion with supernatural power. In many instances (particularly the extended version) illustrates how this alienation seeded deep resentment. Michael was a ghost of sorts, an oddity so embellished it was lampooned and scolded, but never articulated as substantially known beyond veneers or preconceived notion.

What is a prevalent theme in this song is Michaels combined detractive and didactic detachment toward the adult characters whom find him a questionable 'freak'. Alienation of this ire, and death obsessiveness pervade his work, dating back to Thriller all the way to Blood On The Dance Floor. This performance is notable from the others for his fierce handling of instilling venomous fear and macabre acts upon his guests, (repleat with the usual back-up dancing minions) with attenuated willingness to' serve the heads' of those who would castigate him. It is his 'cruelest' performance.

What is foreshadowing of this, is not only his death, but 4 years later from the video's creation, how castigated and violated in his own sanctuary he would become: photos of his genitalia be taken by law enforcement, constant search warrants issued for his premises during the trial in '05. Violated by the very similar adults whom he would have loved to perchance bestow his brand of fantastic and supernatural punishment upon. The very ones whom did believe him to be a real freak.

Neverland would be lost, and in many parables in his life, never really was.

The End of One

There is one irritating, but compelling attribute in all the 'friendly' articles written of Michael: no biographer, no 'friend' has written anything directly or meaningfully critical of him. It all seems to reside in the spectacle and awe of being in his presence, as if some were in communion with the living Jesus himself. There is no honesty in aggrandizing the deceased, particularly if the deceased had some glaring potential character issues that could have hinge on the precept of being a sexual predator.

Sometimes pontificating prose upon the death of a celebrity friend berths its own precognitive bullshit, clouded by the worshiping of and intoxication of being at the alter of celebrity itself.

Alternatively, judgement can't be doled too dismissively, either. I have known adults whom behaved similarly to Michael in my formative years, and though these individuals were not particularly predatory, some of their behavior did cross lines enough to warrant speculation and concern to relationships, those seeming more at ease amongst children, while simultaneously unable to maintain cognitive relations with their adult peers. Some of these 'relations' seemingly hinged upon a sexualized countenance, although never apparently, nor verifiably consummated.

I believe Michael to have been of this type, without question.

Michael as a father was and is still an enigma, There are varying accounts as to his fitness as parent. This is not an area I can render an angle, other than to say the only evidence of competency came in the last statement of young daughter Paris at the very end of his televised memorial on July 7th 2009; unrehearsed and unexpected, (unlike the previous eulogies on that day):

'He was the best dad'

Also vague, obtuse, and rather strange was his private arrangements involving the reproduction and birth of his children, also not firmly established with verifiable fact or consensus in any legitimate context. The only testimonial of any stripe in regards to his interpersonal relationships came from Lisa Marie Presley in this interview by Diane Sawyer in 2005

It is most likely unfair for me to state this , but here it is: Lisa Marie's account of her marriage to Michael can't be taken with any real integrity, if only due to one glaring and obvious detail..

Her father was Elvis.

The former Mrs. Jackson had already become accustomed to the ambiguous eccentricities of being born from a world-renowned icon whom possessed his own brand of insular absurdities. This is not say Lisa hadn't any 'love' for Michael, nor is not honorable in her recounting and believing those experiences. What is suggested is this: Conditioning constitutes greatly for our perception of experience as being in relative 'normal', I believe. What she or Michael might've viewed as cognitively status quo may not translate as such to others whom experience may be alternatively different. Conversely, what may have passed as regular and healthy for them may have not been, period.

The seemingly inane questions Diane Sawyer posed was what needed to be asked, especially as it was the focus of during Micheal's trial: was there a notable sexual relationship within the confines of that marriage. This marriage, and later Surrogate mothering Michael took up for the birth of his children we will never really understand nor have knowledge of in full detail.

Micheal's end , both tragic and unsurprising, was a representation of a life marred by limitations in mature, sound judgment in regards to his inner-life and relationships. In the end , he was more focused on re-cementing his position as the dominate figure of of all things mainstream as to validate his relevance beyond the mire of the trial. The nearly four year sabbatical he took did not assuage perception nor proffer enlightenment for the masses. The same issues would revisit anew through the scepter of electronic media.

And although working with renewed verve, it was apparent Michael did not grow from his self-imposed exile. As evidence to this, the manner in which he expired to me represented the continual chasm of his inability to achieve context: breathing, eating, drinking, and talking all at same time. The battle for ground and grounding not in line with the harsh reality of what he had never acquired, his insomnia and frenetic work pace mixed with dependency on pain and sleep medication to find the true peace never obtained....

Contentment from emotional maturation; being a sound and happy 'grown man'. A life being whole.

To have never lived a life complete with play, with making and un-making friends, growing from the experiences that define you as a person, all the way as you progress into later life.

To have been put to full time work by the time you have reached 8, and have your collective public education and social life amongst your peers silenced by age 11, for a controlled environment engineered by your parents, dealing with the contaminated vermin in the entertainment industry at a vulnerable time in your childhood development must have been as toxic as doing 5 rails of high-powered cocaine on your first go.

I do not need in PhD in Psychology to surmise this pysche slow-kill of an existence only could cause a deep soul drainage, and resulting in nothing resembling a 'healthy being'.

This despondently Dionysian biography that was Micheal Joseph Jackson's life was damned from the beginning, and was perpetuated, enabled , and protracted by himself and others for the benefit of that Western ideal of personal austerity:

Fame and Fortune.

I can state if given choice to have the life of success, opulence and adoration such as what Michael possessed, or my life currently: working 70-hour weeks, soliciting for investors, airplay and holding two jobs currently to sustain me and my family, I would choose my current life, with my mind and experiences in tact.

It is not say I don't wish for some form of success; as the goal is complete independence, financially and otherwise. It is to say that I am currently in a state where I could fully enjoy it unencumbered and without the heavy anxiety and brain-splitting idiosyncratic neurosis and psychotic megalomania that so many uber-celebs seem to possess.

To just be , minus the Albatross around my neck, nor the sword of Damocles waiting to drop from the tethered thread of the King's table as I sit directly under.

To be free. A life unexamined, except by those whom truly know me and love me; not craving the hyperbolistic spasm of screaming fans to render that love, while I suffer in my child-like mind as to my inability to be content.

Michael was without that contentment.

I am blessed to have that now, in the living, and have it never stricken from my being by the banality of others seeking to use me as a vehicle of their own ends.

Michael ended as product, target, and tether; ultimately alone. Unsettled, restless and unfinished. He ended before a subscript could be re-written and lived anew. The largest deficit will be of his children never knowing him any further in the living. And while vultures like brother Jermaine will continue to seek that higher edifice of adulation as programmed by Joe The Architect, we will never really see an individual reach those lofty heights as Michael did.

Perhaps, it would do us good never to view that again, or to have as defined as 'great'. The object maybe is to be as One, with others in our lives who we enhance as they enhance us, and within ourselves in the quiet recesses within our private lives, rather than be in that fervent consumption that allows us to be defined rather than define ourselves...

'Number 1.'

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Prince and His 'Evolution'

2009-05-21T18:43:00.000-07:00

Prince has morphed into a compelling public figure as of recent, showing growth in areas that should be construed as groundbreaking, while still some other areas might need work.

Tavis: Who's qualified to critique your stuff these days? You mentioned Miles Davis. Who's qualified to critique you?

Prince: Oh, anybody.

Tavis: Music critics? Fans? Other artists?

Prince: Yeah, I don't mind - anybody, if they do it with a sense of love, if they're trying to show me something about the work that they really feel is important for me to know. And I don't see a lot of that in journalism today..

(Transcript from Tavis Smiley/Prince Part I)

An Evolved Approach

After watching the recent late-April interview with Prince on Tavis Smiley here in L.A., I felt this was a grand opportunity to offer props to an individual whose impact on me musically went well beyond that of the iconoclastic worship of adolescence. Prince is the very reason I am a musician in the first place. His passionate, driven, multi-genre vision and approach ran parallel with my sense of all-inclusiveness in composing and writing, more so than my ‘Heroes On High’, the monolithic and legendary Pink Floyd.

Prince ‘resurfaced’ in 2004, as Musicology marked his return to dominance in the popular music realm. A year solidified with induction into the Rock and Roll hall-of-fame accompanied with his most successful tour to date. This was also marked by a more refined and complete media image as Prince made his rounds through the popular talk show glitterati. But previous outings to these programs had produced little weight or baring for him as an artist, and did not really endear himself to the public the way this particular sit-in with Leno did.

The promotional visit saw a more engaged Prince: Open, relaxed, even funny; imploring fans to bring their children to his current concert. His mannerism suggested a confidence devoid of overt self-awareness, offering seamless allowance to even give Mel Gibson a little shit with his ‘ Hey, Mel..what’s shakin’ baby!.. Whatchu doin’ after the show…Wanna see a movie..?’ an indirect slight to his directorial release of ‘The Passion of The Christ’ which was in a full-blown theological controversy among devout Jews and other various religious cults. Nobody in the studio audience really caught the vapors. (To me it was glaring.)

It was the beginning of new pattern in his approach to the mainstream media: Being less the aloof Rock/Sex God, and being more approachable, personable. More…human.

It worked.

This pattern continued on Ellen DeGeneres that year, where Ellen, a notorious and unabashed fan of his, had the unmitigated gall (and unbelievable nuts) gifting Prince some boxer underwear with her name emblazoned all about the waist band in his dressing room before his appearance.

Evolution: Stunted
The Days Of Rain and Cameras

Contrast this with his well-known (and incredibly botched)coup from 1985, in which MTV had to scramble to get the once-in-a-lifetime interview while he was filming ‘Under the Cherry Moon’ in Paris. He seemed withheld, shy, and lacking good verbosity and clarity to the rather prerequisite and inane questions being posed. I watched this interview when it first aired, and was remarkably disappointed with his seeming reluctance. To a fifteen-year-old, I wanted more animation; more validation in this interview to solidify my fandom of him. And in my adolescent mind, he failed.

What I failed to realize was how much restrained contempt he exhibited. Having viewed this with a more adult mindframe for the first time in 24 years, there was one attribute that lingered through this entire faux interview that I didn’t catch as a freshman in High School that has made itself much clearer now.

Prince was pissed.

To this day, many so-called critics, journalists and bloggers still believe Prince snubbed the ‘We Are The World’ recording due to his self-aggrandizement. The very root of this massive assailment to his public personae could be easily placed at a moment when Prince was Lord of Whom All He Surveyed.

January 28th 1985….

I tried 2 tell them that I didn't want 2 sing
But I'd gladly write a song instead
They said okay and everything was cool
'Til a camera tried 2 get in my bed

-from ‘Hello’, the b-side from the single ‘Pop Life’/ 1985 Paisley Park (P. R. Nelson)- Controversy Music(ASCAP)

After winning three awards at the AMAs, the 26 year old wanted to cap off the evening by going for a ride and get a little ‘grub on’ with a few friends and a sizable collection of security personnel. Although being previously committed to record with Quincy Jones, Prince had phoned him instead, mid-session, offering to do a guitar riff for his hastily-assembled celebrity encrusted charity magnum opus. Quincy declined, feeling that a guitar performance would not be in context with the composition and performance of the piece, but asked that Prince offer a whole track to the full-length album. Though a line in the track had been designated for him to sing, Prince would later indicate his ‘discomfort’ singing and performing around people he didn’t know. Quincy, by all accounts, was good to just receive a full song from him instead.

“4 The Tears In Your Eyes” became the contribution. All would’ve gone well as planned except for one unforeseen problem: while hanging out with his ‘beautiful friend’ Jill Jones at Carlos & Charlie’s on Sunset Boulevard, Prince was getting surreptitiously handled by the paparazzi, and having his limo invaded by one particular light-tight box lens-carrying goon job whom legend has it, told Prince “That’s right asshole! Smile, you’re a star!” All this, while firmly issuing a quick chubby fingered shutter-release of his Nikon, as Prince’s security entourage snatched the draconian plank and bogarted the film.

When the dust settled, and about 6 hours into January 29th Prince went from absorbingly admired and praised for his brilliance to lambasted as the world’s most talented self-enamored prick. The honeymoon was not only over, but the groom was thrown under the proverbial tabloid media-driven bus for all to ostensibly crucify over every cheesy half-cocked gossip show. The fallout became highly concentrated and immediate.

The FallOut, The DropOff

Prince deemed it appropriate to try staving off any further damage by agreeing to a rather abstract (and mostly cryptic) interview with Rolling Stone as ‘Around the World in A Day’ was making its way to the music chains. By the time the ‘Prince Speaks’ issue hit the stands; Billy Crystal had already punched the exclamation point to the sordid malaise with SNL’s
‘I Am Also The World’ opening skit on March 30th that year, with Mr. T and Hulk Hogan as two pugilistic and obsequious security staffers set to run off even the likes of Bruce Springsteen if they dare to approach the mic to sing with his Purple Piousness.

Crystal, clad in purple hood and muffin-caked eyeliner with the prerequisite butterfly-collared pirate shirt, gave a bruising, over gesticulate, gyrating performance theatre a le femme; punctuating each lyric with subdued sexual tongue-wagging , bambi-eyed exuberance reducing Prince’s performance personae to a carnivalesque caricature worthy of a Ralph Steadman/ Gerald Scarfe cartoon rendering. So hideous, it was not only hilarious, but to many of Prince’s detractors, a spot-on incarnation of the evil they felt succumbed to due to his seemingly isolated, aloof and controlling nature.

All this stemmed from Prince trying to celebrate his newfound glory and acknowledgment of his talent with someone who he whom he had known and trusted since 1981. Acknowledgment having being sparse from his own personal life, beginning with his father and transcending into his schooling years. As he admits , music became the key to stopping the brutal haranguing and curmudgeon beatings he took from peers as a boy, as he was be given leeway in the ‘hood for showing ‘chops’ his diminutive frame was unable to do in other avenues.

Genius is an oft touted word that thrown about to enliven, even embellish any subject matter it is intertwined with. With Prince this application of the adjective belies a far greater disability that was the trade-off for his absorption into music. John L. Nelson, also a prolific songwriter was often exceedingly critical of his son’s musical performance, so music both became a hybrid mix of needing a connection to his alpha male role model, and filling the deep crevices of loneliness that the perpetual pre-adolescent bullying gave. The one area in his life that had become the bridge to his identity away from the vox populi of the quasi-caste system of public school and fractured home life, replete with having to move in with best friend Andre Cymone after being unceremoniously thrown out of his family’s home, was the very same catalyst leading to his social and emotional underdevelopment. The more he grew in exponential talent, the more his deficiency in dealing with interpersonal and social collective interaction suffered. Prince had become an island unto himself.

We'll do what we can
If y'all try and understand
A flower that has water will grow
And the child misunderstood will go

Hello

-from ‘Hello’, the b-side from the single ‘Pop Life’/ 1985 Paisley Park (P. R. Nelson)- Controversy Music(ASCAP)

This trade-off is something I could’ve found myself committing, having very similar ramparts in my own childhood. An absentee father, a broken family, and a sense of self-insignificance which was perpetuated exponentially in 1980’s Salt Lake City Mormon anti-cultural pluralism, quite comparable to Prince’s 60’s/70’s Minneapolis melting pot of social derision in many respects. I, too, was undersized for the majority of my preteen years and was bullied extensively from age 12 to high school graduation. The difference is that when Prince chose to withdraw into his own universe, he remained there: operating inside a cocoon of his own creative structure. I withdrew into my own universe similarly, but chose to ‘step out’ at times by fighting back, letting myself take social chances and remain participatory in dealing with my peers , even in the presence of bruising hostility and rejection; I went outward to push it back feeling that I was already ‘better’ for just being me as a whole. Finally growing to 6’ 1” certainly didn’t hurt either…

The outcome: I am socially adjusted and media savvy, and have been so for most of my adult life. I am not remisced about collaborating with others I don’t know personally, so long as the creative energy takes on a life of its own. I also trust my intuition to guide me through the creases and complexities of dealing with other people I am not familiar with, hence why I am not particularly shy in engaging them.

Prince is only just coming to terms with this it seems, at least on a public front; hence his demeanor has softened in this regard. He is still, however intensely shy, and is often accused of being rather aloof. The two do not necessarily inhabit the same space. Being aloof comes from a form of cavalier narcissism that you are above reproach and elite. Being shy means you lack the essential tools to socialize and communicate with others on the most basic of levels. Relationships are complex, thus made more preponderantly so by this social disability; it can impede progression in human intimacy on the deepest of levels. You can never ‘relax’ within yourself when surrounded by unknown company. It gets very ‘quiet’ on the exterior, even if the ‘noise’ intensifies internally.

By the time MTV caught up with him to exact their horrid interview of him in ’85, the damage was done: His follow-up album tanked after a fast start, the print interview with Rolling Stone was by and large, a non-interview and did absolutely to assuage public opinion. Celebrities were dissing him on comedy shows, and even Boy George was calling him ‘boring.’ The MTV interview was a final nail in the coffin for Prince’s public image, and though the performance of the interview hopefully got some execs of the ‘former’ music channel shit-canned, the blame in this instance for the further fall from popularity is Prince himself.

His inept handling of the entire situation did more to expose him to deeper and broader scrutiny. Contemporaries whom he called friends in the past came out to mall him: Jesse Johnson, with his famous ‘Prince Is An Asshole’ interview for Rock and Soul Magazine in ’86, ‘Big Chick’, his former bodyguard, telling a tabloid rag that Prince was quintessentially a miserable lonely bastard, all in an effort to score some cash to maintain his cocaine fix.

Details being released about his confidentially agreements he made other band members and groups sign, including ex-girlfriends, revelations about a cruel and controlling persona. The success of Jimmy Jam and Terry Lewis throughout that decade becoming a constant reminder in the popular consciousness of what a seemingly derelict and hostile little tyrant he was. Their ensuing independent success was a direct result of having been 1 minute late to board the bus while on tour with Prince in the early 80’s, in which he grabbed the entryway handle, closing the door and leaving Jam and Lewis stranded and ‘fired.’

And whereas Michael Jackson got about a five year pass on his animal and child fetishes and accompanying face mutilation, Prince barely got one…largely for being unable to undo the media scrutiny about the events of one single night. The paparazzi single-handedly nearly took Prince down. Though he continued to be successful, the remainder of the 80’s up to the mid- 90’s would see an inevitable decline in his overall appeal.

In 2009, Prince has come back again with a vengeance, scoring a #2 slot in the opening debut of his trifecta “Lotus Flow3r” in mid-April. Tavis Smiley and Prince have been close friends for several years, so it made sense to have no one other than Tavis ask the more intricate questions about his persona. What sets this interview apart from many others that Prince has done in the past is that there is an absence of strange awkward silences in answering the more personal questions. Although a two-part interview, there are still limitations with doing television interviews, and one is the aspect of time. It is hard to get into deep and involved answers when you’re on the clock, and in a structured setting. Despite this obvious impedance, Prince delivered far more insight into his psyche than I have ever seen.

Evolution: Advanced
The Interview: Chemtrails , Eight Unidentified U.S. Presidents, All Along ‘The Watch Tower’

Tavis Smiley w/ Prince-Part I

Tavis Smiley w/ Prince-Part II

Prince’s longstanding grudge against the media has subsided into a more functional and workable edge. In years past, while he was battling Warner Brothers and getting his image repeatedly raped by the mainstream media, Prince was quite subdued, almost pedestrian towards journalist and columnists and usually was in high disfavor to letting anyone cover his personal life on any level. His evolution from being a dysfunctional media recluse to a highly interesting, provocative and engaging talking head has been a long road, and in many ways this is the best Prince has ever been publicly.

This entire interview really did much to humanize Prince in many aspects, and the overall response by the media has been positive. Well..all except the examples of complete media misogyny as listed below. So much rancor has made its way to so many different publications and blogsites, many of whom have not done their homework. To the few that have, I do not address this to you specifically. To the many that haven’t, I would like to invite to read the contents below and review what you have written and see what punk-bitch, self-serving, solipsist asswipes you really are. And as Jim Rome would say on The Jungle, You should learn to ‘Have a ‘Take’, and Don’t Suck.’

“Most journalists are just lazy.”

Rolling Stone most recently proved his point here. One glaring attribute that has not changed over the evolution of digital media is the apathy of writers to not properly research the subject they cover enough to render anything resembling informative and entertaining simultaneously. Daniel Kreps, who wistfully masturbated this quick article about the interview itself in RS Rock & Roll Daily couldn’t even do Prince the service of referencing the conspiracy theories he relayed with any factual clarity. Instead, he blurbed several of them rather non-nonchalantly, seemingly playing along the old ‘Prince-is-still-fucking-weird-but-we-love-‘em’ theme stating:

“one of the strangest moments in the interview comes when Prince is talking about “Dreamer,” an ode to comedian Dick Gregory that features on LOtUSFLOW3R, and brings up “chemtrails,” the conspiracy theory that argues jets drop chemicals through their smoky exhaust.”

And on the Jezebel gossip blog. This half-cooked gem from some blogger only identifying herself as Tracie states:

“As much as I love Prince, it seems like he's getting weirder, and not in the good exposed-butt-cheeks kind of way… his belief that our government should be based on prophecy and morals (as though it weren't already, but whatever) seems foolish for an artist to support, since morality is subjective.”

Context is no longer a trait in modern journalism-blogging. Instead, it is substituted for sarcastic wit purely for pontification, posturing and instant gratification, much like going for the one-night stand as opposed to pursuing a full-time commitment. It lacks attention, depth and neutrality. Although ‘Tracie’ enclosed a link to the Wikipedia article on Prince’s religion (more for composition rather than for insight), I’ll do one better, and link you to their belief systems instead, and briefly cover the main beliefs:

Jehovah’s Witness beliefs primarily hinge upon the aspect of Prophecy, and that no ‘man’ should ever be exalted to the level and control of ‘God’, as they believe many world governments are practicing this by design, and that they are the chosen ‘witnesses’ whom will be allowed to sit with God in heaven, after man has ultimately been eliminated upon Christ’s return to Earth. What Prince did say was “Prophecy is what we all have to go by now.” The ‘we’ was in direct reference to his being a Jehovah’s Witness, not what the present government should be based on. An assumed correlation in this statement changes the very intent and context. Prince says further:

“It's almost as though there's no need for god and no need for religion and justice in politics. So there's supposed to be a separation of church and state over here.

We can't have a separation of state and morality”

Yes, morality is subjective, but it is also a matter of personal interpretation and standard. I did not get the sense that Prince was ‘preaching’, but conveying thought on his belief. It was done with great clarity.

I state this as one who has an absolute disdain of all religion as a whole, and that the secular and presumptions of righteous divinity as being selected and exalted by a higher God by virtue of association of worship with others absolutely disgusts me to my core. Who really knows who or what God is, and with whom he would play favorites, and why would such an entity place such favorites on certain groups doesn’t run concurrent with my own faith in God. That’s my angle, and yet I find many bloggers and writers so eager to pile on Prince whenever he even broaches the topic of his belief. One is entitled to one’s interpretation in faith, whether it may be deemed ridiculous to others or not.

For anyone remotely curious to explore further my own view on the world of religion and belief, check it here. Otherwise, no more need be said.

“When I found out there were eight presidents before George Washington, I wanted to smack somebody”

I can NOT tell you how many blogs, articles and other quickly scrawled tripe I came across denouncing Prince as nothing more than just the product of his own self-absorption to the inth degree, an idiot savant who just needs to ‘shut-up’ and sing when he made this comment. Again, context, and research are not in play with these reactionary twits are looking put some wood to P-Rog for the sake of their own self indulgence. Truth is, Prince is actually correct on this assertion except for one thing..

There were actually 16, and each held the official title during their tenure as “President of the United States in Congress Assembled". The ‘President’ (prior to the creation of the Executive Office in 1788, in which George Washington assumed that unrelated role as the official first U.S. President) was basically a presiding moderator for the Continental Congress while they were in session, and held no executive privilege or power by assuming this role.

Although Prince could’ve done better to thoroughly explain his inference, it’s a journalists’ job to research the comment before rendering an opinion, and determine the context. When that flew out of his mouth, I was admittingly skeptical, but rather than trash him for it, the first thing I did was research to see if he was alluding to something else entirely than what the statement suggested. He was.

And, technically, he’s right. He was also right for saying that this was never taught in schools. It wasn’t. What he was suggesting is the desire for full disclosure in his education of America’s history, not just selected components designed to potentially cause bias, sway judgment, or coerce. Teach the ‘real deal’, not selected areas, or propaganda.

“Dick Gregory really moved me… He said something that really hit home about this phenomena of chemtrails.. I used to see these trails in the sky all the time and I'd say, "Oh, that's cool - a jet just went over." And then you started to see a whole bunch of them and the next (thing) you know, everybody in your neighborhood was fighting”

Prince got cheese-balled for this reference, and I do like the fact he had the absolute brass balls to bring this up. As mentioned before, there is validity in raising the argument.

For the grossly under informed, Dick Gregory was the first black male to run for President in 1968. A world renowned activist and conspiracy theorist, it was he who began to get the Federal Government’s attention to look into the assassination of both Martin Luther King, and JFK. He is also a well- respected comedian and one of the first real vegetarians to promote the dietary lifestyle as a means to combat obesity and extend life.

Mr. Gregory is a persistent agitator in regards to the existence of chemtrails that said to contain aluminum, polymer fibers, thorium, or silicon carbide. These compounds are said to be used as experimentation for military purpose by the U.S. Air force over urban and rural populations for combat use and possible population control. This conspiracy would be easy to dismiss were it not for the U.S. Army’s well-documented use of weather manipulation during Operation Popeye in 1966 over Laos, one that was termed an operational and strategic success, but was mysteriously discontinued in future endeavors.

The chemtrail phenomenon cannot be completely discounted, as much of the research into their existence has been performed by the U.S. military scientist with no alleged validation to the claims, which could suggest bias and tampering to keep the ‘truthers’ and the rest of the general public at bay.

Many independent scientists have been researching the physical attributes of the trails since 1996, and have consecutively noticed the ‘grid pattern’ phenomenon usually left by excessive military aircraft in a given region, claiming that an increase in electrical compounds rises significantly in rainfall after the trails have expanded and dispersed. The debate is not fully settled nor ‘a done deal’, as many unanswered question linger that even military scientists can’t fully explain or write-off . The fact the actual footage of Mr. Gregory discussing these points as referenced by Prince in the ‘State Of the Black Union’ can’t feasibly be located anywhere on Google further adds to the controversy.
The jury is still out…and this topic is not as entirely inane as journalists may contend.

Topics He Will Not Cover In Detail

As part of this evolutionary process that he has now cultivated and executing, there are topics he will not discuss, and if he does cover, none in great or varying detail. This nuance is greatly enhanced by his new openness, which in my opinion, is not forced nor a marketing tactic. This is him, albeit compressed as it maybe. I find it incredible for someone as private as he is, and so intensely ‘gun-shy’ when it comes to speaking in public forums to arrive at a place with his public personae to be so lucidly candid and transparent. The days of the strange eye-rolls, awkward silences and incoherent explanations to his ideas are long gone it seems. He actually appears intelligent, insightful, and in good possession of a sense of humor: even about himself.

Tavis Smiley deserves mad props for his delicate, but forward approach. Smiley exhibits quite strikingly why so many individuals of great prominence, prestige, and popularity line up to have a seat with him. His skill and adeptness is a sincere, fundamentally lost art.

Here are a couple of subjects, however you will most likely never here Prince speak of publicly:

‘Boy’ Gregory Nelson (b-d October 16th, 1996)

In the midst of being released from his contract with Warner Brothers, and toward the latter half of having his ‘Love #2’ symbol-name mercilessly butchered throughout the planet and diving sales of his music, the one area in his private life that was the most joyful was his domestic, complete with his marriage to Mayte Garcia. Prince went happily going public with the pending birth of their first child, almost seemingly indiscriminate, the track Sex in the Summer on his Emancipation release that year incorporated the unborn child’s heartbeat garnered from an ultrasound as the backing percussion.

When ‘Boy’ Gregory Nelson was born on October 16th 1996, it was discovered he had a debilitating genetic deformity known as Pfeiffer Syndrome , type 2, and did not survive.

From my own memory, the media went ‘soft’ on him, meaning that they did not try to push the delicate subject and ask his input or details. Although Harper’s Bazaar in May 1997 tried to make a game of it mid-interview with him in Manhattan; Prince simply declined, only stating that ‘Mayte’s having a hard time with it.’

This is the most intelligent move on Prince’s part, as it is no one’s business but his own. This was one of the few occasions where his reluctance paid off. Being a father to four children, I cannot fathom losing any of them to anything whatsoever, or experiencing the complete realization that whatever fantastic vision you had for you and your child’s future now is irrevocably nullified. It is not a topic to be handled for attention-deficit feeding media consumption nor bandied about as if talking about a girlfriend you broke up with. It’s the loss of a child, and whatever ramifications that brings, should be handled in private.

Tyka Nelson

Sometimes siblings don’t stay connected through the road to adult independence, and in other instances they do, but do so under the radar, particularly if they’re in the public eye. The only reference that I have ever heard from Prince about Tyka Nelson was the Tavis interview itself, and only in this context:

“I would create my own universe. And my sister's like that, a lot of my friends are like that.”

This is not to suggest that they do not have a relationship, but what it does suggest is that the two are not necessarily ‘out in air’ as to the nature of open acknowledgement of one another publicly. One could assess many things from this. I have been actively following Tyka since she sent me a friend request to my Myspace a little over a year ago. I have spoken with her through my profile messaging, and the one curious thing I found about her, is the same that I have been on about with her brother in this lengthy article.

She’s opening up directly her to fanbase, presenting a less withdrawn, and more free-spirited communication and getting out there. Just like her older bro ‘skipper.’

Could it be that perhaps a musical collaboration might be in the running for these two? History suggests no, as does some recent activity. Before Prince’s release of ‘Lotus Flow3R” , Tyka put out her first independently released R&B gospel album called ‘A Brand New Me’ on CD Baby.com in late 2008, and is presently embarking on a full-blown U.S. tour ( currently slated for a local L.A. appearance at the Greek Theatre on June 6th). What also is further indication to her continued ‘separation’ from her older brother is these two interesting events:

In September last year, Tyke Nelson held a contest for fans to submit poetry to be used on the on a track for consideration of inclusion onto the album and her Myspace player. On October 9th she held a pre-release party for her CD and awarded the lucky contestant an advanced copy of both the CD and a completed version of the song “Manna From Above”, autographed by Tyka herself.

In March of this year, Tyka self-published a compelling personal memoir chronicling her very difficult life called‘Mama Never Taught Me How To Sing’, which retraces her abuses, addictions, and failures from early childhood through her present-day position in re-establishing her career, and through the eyes of her faith.

The only similar activity in her current endeavors is that she is also going independent. No major label, no major distribution. and where she is in total control of all content. And unlike Prince, the real uphill battle she faces is the battle of obscurity, which is odd as she has been successful before with Royal Blue which did chart, even garnering a hit single “Marc Anthony’s Tune” in 1988. The other aspect in her unusual dilemma is…her brother’s PRINCE!!!

Not to suggest that Prince should be obligated to ‘help’ his sister and it is not to suggest that maybe he hasn’t offered. In a 1988 interview Tyka did with People magazine she had indicated that she wanted to set her own path musically, apart from her brother hence why she elected originally to release her debut album through Chrysalis, and not Warner Brothers. Conversely, she did mention in that same interview that if it were not for the help of her brother, she would’ve never have gotten as far as she did.

One could assume from this ancient archive that she probably still wants to go full-on independent: Promoting, distributing and placing her brand as she sees fit, wanting no help from Big P-Rog

Further evidence (at least to me) of this mindset is when Tyka had ask me about my label in June of last year, and I responded , letting her know what it was I was doing, and gave some advice about self-releasing her CD, performing at intimate venues in context with her genre, doing Radio/TV interviews.. general music-biz stuff. She responded:

“What you do sounds great! I on the other hand really want to work with a major label and can't wait to walk into their offices again.
I'm gonna keep tryin it on my own until they take notice but THANK YOU …..for getting back to me and letting me know what your company is all about –“

Since then she’s done entirely the opposite of pursuing a major deal , realizing, like Prince has, it is more advantageous to be secular in your endeavors, as The Majors can do nothing in their impending demise. Taking my advice, maybe? Perhaps.

And while I am under the self-aggrandizement of believing I have had an impact on Tyka Nelson (delusionary as it might be), perhaps rather than wait for these two to speak of each other in public, maybe I can get ‘em on my show The De Frag and have them speak to each other in August, say, in a dual interview maybe?

Yes…I can dream

Evolution: None
Where I disagree with Prince

Prince made a very strong and durable argument about those who critique his personality punctuating it with “ It doesn’t help me”, he explained, going as far as stating that some of what has been circulated about his personality has been quite ‘hurtful’. My ‘beef’ with Prince is not one of personality, per se, but has to do with one area of his protocol

This protocol is his seeming over-obsessive/compulsion to wrangle every scrap of intellectual property (whether primary or secondary) of video and sound..even pictures of Tattoos that contain his likeness, off the internet. In modern physics as it pertains to the distribution and exchange of on-line information, the capturing and detainment of said information will never succeed nor surpass the exponential space/time viral speed, velocity and density in which information goes forth in the vastness of the internet. In other words Prince does have the absolute right to wrest control over anything involving his intellectual property, however, it is absolutely impossible to reclaim all of it in that vast expanse. He cannot control the internet itself.

Prince needs to relax this a bit, and allow some of it to just ‘be’. It is not worth pissing off fans by taking down decades-old footage of performances, concerts, interviews, and images from fansites and other miscellaneous URLs just merely because your image is associated, proxy or otherwise . By trying to assume so much control, one becomes consumed and takes for granted what allowing some of these things to merely pass can actually do in sustaining his popularity. Arguably, you could win the battle, but what price be glory, when you lose the war itself?

Some things are worthy of allowing to let stand, because they come back in such far greater value. But only if you set them free.

Hmmm..Haven’t seen ‘ol G-Rog getting after anyone spreading his Coachella performance around..

Roger Waters (who also performed at Coachella in 2008) has had a rather notorious history with branding/trademark claims. If one thinks back to 1985,and his acrimonious split from Pink Floyd, it was clear that eventually he had to let it go, as it was not possible to wrest the name of the band away from David, Richard, and Nick.

This sort of pedantic maneuvering didn’t bode well for Roger, and is currently undermining Prince’s new-found glory among fans of his, particularly, with potentially new fans whom are not entirely familiar with his new material.

Thom Yorke from Radiohead was rightfully livid when Prince commandeered control of the Coachella footage which featured Prince performing ‘Creep’. The footage is still not available due to a claim lodged through Prince’s own label, NPG music. I happen to side with Thom with this one, when he stated ‘It’s our… song’, and not just in a linear cohesion to spite Prince.

I agree also that it should be allowed full access, because Prince stood to reach an entire group of fans who might actually take to him. Prince could have also stood to get pointers on how to virally draw interest in his music the way Radiohead did with ‘In Rainbows’ in October 2007, by letting fans decide what price to pay for the whole download. The album debuted in the U.S. at #1 when released the following January.

He and the band could have swapped marketing ideas, and both could have seen immediate benefits in such a relationship, but Prince has got to back down and let that performance be seen virally, among many others. It is to his detriment in expansion in fan outreach and to his public persona to continue on the path that he’s on, as this could seriously undermine what he has worked hard to cultivate.

Prince has stated he is open to criticism so long as it is done with ‘love’, but this is not about 'personality' anymore. It has become a matter of a seemingly displaced priority of protocol. Love or hate hasn’t any applicability except in this context:

Radiohead has made a storied career out of staying away from the mainstream, and much of their fanbase contain many of those whom are disillusioned with popular music as a whole. To this group, Prince has become an easy target of ridicule, for he is now a living symbol of the kind of callus egocentrics that the likes of Thom Yorke and company have railed against for many years. Prince is now the perceived corporate villain: seemingly calculating, cold, solipsist and absorbed in his self-promotion; disrespectful to art that is not his own.

This assumed self-aggrandizement is furthered by his own ‘love’ of Joni Mitchell: as it is hard to imagine that he would have handled the situation the same with Ms. Mitchell on the other end, running the risk of potentially alienating her as he has done with Radiohead. And to get ‘love’, one most show ‘love’. From where I sit at as an Artist, this isn’t it, unfortunately.

This undermines his redux of the last five years. Where it took a bad incident in January ’85 to turn him into a living pariah in the midst of what was supposed to be his moment in the sun, actions like this have the same potential, and is still being played out to this day. This is the one area I feel that Prince is still underdeveloped as to find a more beneficial and balanced approach.

The creation of that ‘universe’ Prince alludes to is the source of this ongoing conundrum, and whether he really is concerned about it in a genuine way is still the intangible yet to be seen publicly. He could very well not be motivated enough to concern himself in such dynamics as to change coarse in his protocol. He is riding a high wave at the moment, and ‘Lotusflow3r’ exemplifies his progression in content and marketing, worthy of adoration.

However, to this deficiency of Prince’s, which has not evolved competently, I can only finish this way: …. “Hello?”

Evolution: Complete
The New Power Marketing Plan, and other Miscellany..

I wanted to finish this incessantly lengthy expose on Prince by stating his new strategy in marketing his latest release was a stroke of absolute brilliance. I have below embedded my May 5th broadcast where I talk about at length, and invite to scan through it. This broadcast I am proud of in particular as I finally had the chance to break down this portion of the interview and give analysis on it before I went on summer hiatus (until August), and it involved one of my true influences musically. I especially would like to draw your attention to the 59:00 mark and listen carefully and listen for about 2 minutes:

I am emphatic about those who have control over their destiny and owning their content, hence why I am extremely picky about whom I feature. They must have sole ownership of their masters and not be tied to any type of 360 deal, or in any situation contractually where this has been compromised in any way. Analogue radio is dead, and I will continue to lead the charge against monolithic corporations and their need to fill our craniums with disposable music. It is spectacular that Prince also is an independent; just like Tyka Nelson, Melba Moore, Jesse Johnson and myself.

It is certainly a pleasure to be among such great company.

At this particular moment in time, and as positive acknowledgment, I would like to give him an ‘Evolutionary Grade’ (out of a possible 10) of 7.5. Some might find it presumptuous, but I grade him as a contemporary, and as someone who had become accustomed to seeing him in a negative light. Prince’s vast improvement is made even more substantial by virtue of his intense shyness.

And although there is room for improvement to be certain, at the extreme least he is not a gun-toting geezer; leaving actresses bloodied bodies lying around, and not being perennially accused of accosting and molesting children somewhere on a Santa Ynez compound/ amusement park/mansion (Peter Pan, be damned)….

Prince is not some washed-up dancer looking to revitalize his career on some terrible reality show while high on painkillers and self-pity. He doesn’t seem to have a proclivity with getting drunk and tooling around Hollywood looking to start a fight with the first person he assumes is having an affair with his girlfriend/wife/ex etc while TMZ is lurking about the corner.

I have never witnessed him at any Hollywood night club coked-up, angry, and naked looking to have three-way sex with a trio of equally tanked ne’er-do-well hanger-ons on Friday night under a table at 2 a.m..

No sex tapes, no rich parents to fund any mindless celebutaunt activity just to be seen and talked about.

If anything, Prince would probably make a great neighbor: I wouldn’t have to worry about gun shots ringing out 4 a.m from his property, or catching him, mid-deposit, defecating on my lawn after a weekend-bending heroine binge, or have to be 'concerned' if he shows some familial affection towards my 7 and 9-year-old children. About the only thing I would have to concern myself is the potential for loud music traveling through the neighborhood nighttime air at potentially all hours.

And in this town, that’s considered exemplary.

Hell, if that were the case, I’d grab my guitar and hustle my ass over to his crib for a little late-night jam-session. Maybe even drag the wife and kids over to act as a personal fan club while P-Rog and I made up some ridiculous songs about water balloons, music posters and Doritos.

(“did this bastard say ‘water balloons, music posters and Doritos?!’ After this lengthy-ass, quasi-idol-worshipping novella tripe of a blog..with corn chips ?! That’s how he’s gonna end this?! Are we certain he’s not the 7-or-9 year old ?!” )

Naw..I will end it with this: So many of our childhood heroes find themselves to be rather disappointing as we make our journey into adulthood. It’s cool to see that I still have good reason to have respect for a guy whose very talent did inspire my own. After watching the likes of Geoege Carlin and Richard Wright pass away this past year, I thought I would pay homage, as well as opinion, to Prince while he is still very much alive.

Safe to say, this is in the context of ‘doing it with love’ as Prince intimated with Tavis Smiley: Honest, transparent, and respectful. And I would do so in the same context to the man’s face; I don’t ‘change’ in the company of others. Life is better overall when you connect with others on a true level that is unencumbered, unabridged, and without filters..and done in unpretentious respect of that individual.

Mission accomplished.

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In The Beginning…

2009-04-09T10:54:00.000-07:00

Ten Years Later; Ten Years Older….Ten Years Wiser: The Journey up till Now

By KC Shoen

ShoEnTeL Music

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These recordings date back to my very first time, as an adult artist, that I stepped into a professional studio to record my own music back in July 1999.

I was 29 then. I was three years out from my eight-year career as a Naval Photographer, my wife was pregnant with our first child, and I was still doing scrub work like construction, wherehouse work and forklift driving to support my family and my craft. I never wanted to be an Artist..at all. Producing was the focus in those days, and it was during a time when this was still a strong possibility to enter such a profession, and get a deal with a major to do only that. “Somber” was the lead ‘demo’ track that I had set to be the biggest example of what I bring, having hired Paul Mascoari , an old-school rockabilly drummer who liked improvising, and was merely using his talent to forward his beachcomber -bachelor lifestyle in San Diego, where I lived at the time.

The result was a beautifully composed piece that, to this day, I believe to be one of my strongest, although looking back now, not nearly as confident in its performance as the music I record presently. Although I rehearsed for weeks, by the time I stepped into the Sound Design Studios in the suburban outpost of Claremont, the reality of the shoestring budget I had to work with, and the awkward newness of being the one behind the mic, rather than behind the scenes affected the performance, especially the vocals. I didn’t ‘let loose’ like I could’ve. I had two 4-hour blocks of time to complete three songs,( ‘Somber’ is at current, the only surviving track). The other tracks were from the second session in January 2000, recording being split between Sound Design Studios and Audiotron, as the owner of the Sound Design tried to jack me for more money than what we or the engineer assigned to record my songs had agreed to. The other tracks were performed completely by myself: the first time I had ever done this in my life on a professional level. When all was completed, I was mailing demos from Auckland to London, to every major I could possibly certify-mail to. It was an exciting time of great promise. I felt the ‘big time’ was coming. I was on the precipice of music dominance as a Producer, baby! The world will know me.. Here I come!...

Then life happened.

The industry went into to full-on collapse , in part because of the per-to-peer file-sharing, and because of the Majors own ‘technological innocence’ , not capitalizing on the mp3 phenomena and not allowing themselves to convert these two combined liabilities into assets they could draw revenue from. 9/11 also happened soon after, sending my nation into an economic tailspin that sent me, my wife, and two babies into damn-near homelessness; in an attempt at relocating to better our collective fortunes, living in L.A. hotels for nearly two years, just trying to at least obtain gainful employment to back back off the ground. The music went on pause for almost 7 years. Focusing on the family was a major part of the delay as well.. and the happier part…

During this time, the original source reel-to-reel tapes were lost in storage in 2003; the only surviving audio from those first sessions was a tiny DAT tape I dug out before our things were summarily thrown away by the storage company when we fell behind on payment. Baby pictures, wedding photos, my awards and medals from the Navy..all gone. Our history as individuals and as a family was almost completely erased. For a long time, I was mildly bitter about this, but learned something very important that remains with me to this day: It is better to have things purged from you, and not people whom you love. And all was not lost, as what we had was sufficient, and we eventually moved on stronger and wiser for the experience. When I put together my own studio, as the technology acceleration went full stride to digital, I realized that it was more important to remain as independent as possible..fuck the Majors. I invested accordingly, and have constantly made adjustments as the scene has evolved: starting my own label and imprint officially in May 2007 after self-releasing my first album “The Darkest August” in 2006. “Ghettoxic” was the only track from these original demos that was officially released as a finished song, which I remixed to beef-up the percussion, and made more relevant. This year, in 2009, I am hosting my own radio program ‘The De Frag’, an aim to take away the vast expanse of music floating in cyberspace that is not getting attention, including my own, on top of self-releasing my second full-length CD “Programmed Response”, set for release this year.

Today I am working harder than ever..and loving it. The industry is now a game of adjustments, and is now all virtually on-line. I learned over the years that it is important to control one’s own destiny as much as possible..even learning and doing more than I ever anticipated to augment and better enhance what I already do. What used to be in 1999, now longer is in 2009 industry-wise, as the Majors are all but dead, and the fragmentation of the music landscape is replete with uncertainty and ultra- potential for success. I have grown as an artist, businessman, and shameless self-promoter. I have also grown as a person; being the kind of man my family can look to for leadership, dependability, fearlessness..and love. Sometimes it takes a hard crash before you realize what you truly can do. It has been a strange ride..but one that has found me a lot more confident and assured than ever before .

“Find what you love to do, and do it ‘till it kills you” -Derek Sivers, former CEO of CD Baby.com

That says it all..baby!

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My Hollywood Encounter

2008-12-04T15:09:00.000-08:00

Ego Vs. Confidence in The Culture Of Hollywood..and Life

KC Shoen

ShoEnTeL Music

I’ve had some recent encounters with some difficult folks that have caused me some introspection and examination as to what ‘Ego’ and ‘Confidence’ really are in the human psyche. Freud’s famous interpretation being”...The ego is that part of the id which has been modified by the direct influence of the external world ...The ego represents what may be called reason and common sense, in contrast to the id, which contains the passions” The ’ego’ being somewhat the moderator between the imaginary dreamscape of the ‘id’ and the over-compensating and zealousness of the ‘super-ego.’ ‘Confidence’ then in this evaluation would have to mean the ‘balance’ that is struck in this finite system of the mind.

There is something of an unwarranted association between these two attributes often confused with one another. This is important to understand, I feel, for one involves the insane assumption of being greater than all others with no substantiation of talent and ability; absent of personal accountability, and the other is genuine belief in one’s own personal greatness as it stands, with no need to belittle others to provide evidence of talent, and no need to compete or compare.

‘Ego’ assumes that it ‘is’, while ‘Confidence’ just is.

In a bizarre set of circumstances, I came across one of the most powerful music promoters in Hollywood. Seeing an opportunity to turn a recovered cell phone of mine into a chance at cementing a business partnership, I decided to try to attempt a dialog minus the punitive ass-kissing that is so prevalent in the Entertainment Industry. When the opportunity was there, I was summarily told that “nope, can’t call me or talk to me anymore. Goodbye” before I could even render a ‘thank you’ for the return of my phone in the first place. And though I had contacted this individual in the past, and they had given their contact information to me to further discuss such possibility, they decided to slam the door inexplicably and without reason.

‘Ego’ assumes that it ‘is’,
while ‘Confidence’ just is.

Looking back, I began to evaluate, without personal bias, as to what led to this person’s sharp turn in behavior when dealing with me. A couple of items then stood out. For one, this individual has in their hire, a private nanny who is a musician: a very weak and obsequious young man whom obviously believes that by being a personal assistant to this promoter would allow himself some form of enhanced leverage at furthering his own aspirations. Quite the opposite has occurred: He is treated as a leper by not only the promoter, but by their staff as well. The disdain at which the promoter’s staff spoke of the musician/nanny tells volumes as to the lack of respect unknown artists receive from powerful promoters and their ‘people’. They are treated as discards: useless trash.

The second item that jumped out at me was the staff themselves, who spoke very cautiously to me in regards to the business, and of the promoter. The atmosphere was tight and suffocating to say the least, one individual even went as far as saying that the Promoter was ‘incredibly difficult and unkind’, and used an expletive that I don’t wish to repeat ….

They were scared shitless of them.

The awkwardness they felt in dealing with an ‘unknown’ like me, who seemed very disaffected by this information, was obvious: I had the audacity to come to this gathering and use it as a vehicle to promote myself as an Artist and label. Shit, why not? And I didn’t ask for preferential treatment, and I didn’t bullshit anyone at anytime. In the end, they were dismissive of me, they HAD to be, being the promoter’s little minions that they were..

Because I am confident in doing the one thing above all else, and above everyone else…

Being me.

Promoters are a tough lot. They have to be. Many of whom in this town hold private functions for celebrity-only clientele, and must be stiff and unrelenting to outsiders. Their very livelihood depends on it. Another powerful promoter whom I know well (I will call him “Matthew”) runs a very tight ship. He is hardcore sometimes, and a bit curt with his approach when he is running clubs and private events. Outside of this, Matthew is one of the nicest folks I know, and is very appreciative of those around him who help his cause, even complimentary for their participation. But when he’s ‘on’, he is fiercely protective of his clientele, hence why he is so successful.

In the final analysis, I came to understand one thing from this weird situation: ‘Ego’ hates ‘Confidence.’

Given their history, the promoter themselves has had one of stellar cruelty, benevolence, hypocrisy and blatant disregard for those not in the celebrity stratosphere. This individual has forged a professional life of conceited disparity reflected not only in my story given above, but in their personal life. The promoter is alone; without a partner and not in possession of the one thing separates the Confident from the Egocentric:

The genuine belief in one’s own personal greatness as it stands, with no need to belittle others to provide evidence of talent, and no need to compete or compare.

I have come to understand one thing from this weird situation:
‘Ego’ hates ‘Confidence.’

What I learned from this as well, is to keep going. Many people in this town fear this particular promoter because of their clout in the industry and the depth of their connections. I do not possess this fear, however. Leverage can also run both ways. In my case I am already self-contained by virtue of my ability to compose and perform music as a band, run my own label, writing informative articles such as this one, and spreading the word through my own channels. The industry is fragmented enough that it has spawned a new apparatus of access that is unprecedented for musicians, and it will be this group that continues to establish the Industry in a new context. The reinvention is already in progress.

Ego has 'acquaintances'; people who fear them.
Confidence has friends; those who admire them.

It takes confidence to proceed in it in a substantial way, even after being out rightly disrespected by a Hollywood powerhouse. One has to proceed. And not look back.

And sometimes moving forward means to toss back what has been thrown at you, but remaining above the fray at the same time, as I told the promoter in this portion of my e-mail to them:

“Do I want airplay? Sure as hell do.. No lie. Because I am confident in my abilities and talent, I'll accept your 'no thank you' free of any hostility. As you don't need me, I don't need you as well. But is it really about 'need', anyway?”

When confidence is in play, ‘need’ no longer inhabits the self, for it is driven by ‘want’, and want dictates what is perceived to be deserved, not just desired. With ‘ego’ you can cast all who disagree with you aside, and still succeed. With ‘confidence’, the only things that are disregarded are the opinions of those who don’t really know you, and what is absorbed is the ability to self-acknowledge when the information received is valid in advancing your cause, and when your cause is advanced, your success is sustained.

And unlike ego, the success can be enjoyed and shared among others as well as yourself. ‘Ego’ cannot do this, for ego says “I am the best, better than everyone”, Confidence states “I am the best I can be, but I can always do better, for I can allow myself to be human; error, and learn from my mistakes”, while ‘Ego’ makes the same mistakes repeatedly as it believes it makes none.

Ego has 'acquaintances'; people who fear them. Confidence has friends; those who admire them.

Ego is limited by its unwillingness to accept realities about there limitations, while genuine confidence can turn a personal liability into an asset by virtue of its willingness to acknowledge and identify it.

Which one are you?

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"Idol 2 Idle" Song debut

2008-10-11T18:08:00.000-07:00

TheSongDiary : Volume 2

This is a new series that will feature brand new songs as I complete them for my upcoming (and often delayed ) "Programmed Response"

Toady's New Track:

"Idol 2 Idle"

This song was originally recorded back in 2005 in its basic instrumental form , and went through several title changes before finally resting at "Idol 2 Idle" as its final. Originally entitled "Islamabad" and was to be centered around my view on America's war on terrorism in Afghanistan, and the correlation to the poppy seed industry in that country that fuels multi-billion dollar heroine trade in the West. I couldn't effectively find the right form of pliable expression that I wanted, and in early 2006 I came across an article about the formation of Israel by the first Prime minister, David Ben-Gurion in The Nation magazine. This inspired the lyrics first eight bars, and are directly related to the history of the region.

I have always found it incredible the hypocrisy of organized religion and the sanctioning of violence and historical manipulation it uses to control others while furthering its own political and monetary capital for the sake of 'God'. I have always searched for a way to convey my disgust and disdain in such a way that I could say many things using allusions and phrases containing double-meaning. This song was an on-again, off-again attempt at doing just this, and a strange 2 1/2 year odyssey in that regard. irrespective of whatever may result, I am pretty fucking proud of it. the song was completed on October 8th 2008.

The Music: The 'bones' of the track were directly inspired by a Pete Rock/9th Wonder produced track from their seminal 2005 collaboration called "Class In Session". Rather than put through a loop sample of my own, I deconstructed what they did, and reconstructed using organic instrumentation such as acoustic guitars, piano and a live drum track which were put in place, plus a reconstructed key signature. When a friend of mine first listened to the demo back in the summer of 2005, he aptly named it the "Hill Street Blues " track ( after a 1980's television show theme song), which has a similar sound. Extra percussion fills and staccatos and further filtering and arrangement were added during August-September of this year.

The lyrics : a conglomerate of historical references to Israel, World War II, and the victims of the Exodus , a group of eastern-European Jewish refugees who fled Germany after of the Fall of the Nazis whom escaped the concentration camps and were originally bound for New York, but through diplomatic manipulation by Prime Minister Ben-Gurion of the Truman Administration in 1946 was able to keep the Exodus out to sea for seven months, and eventually had them disembark in the port of Haifa to be personally solicited by Ben-Gurion to fight against the Arab incursion in the name of Israel itself.

The problem : the refugees themselves were never asked what they wanted in this 'fight', and the native Arabs were never asked for their input about this new State; this 'New Centre of All World Jewry.' The second half of the lyrics is an all-out assault on all three groups involved in the Middle East mess: The Western Christians, the Jews, and the Muslims. There is an admitted empathy towards the Palestinians, however, as it seems they are ultimately the victim of 'Big Brother American' and Israel: both of whom are economic and military superpowers, While Palestine is more underdeveloped and poor. It seems to reek of bullying the brown man; the 'lesser' one...

Enjoy!.. and *ponder*

And, as always, all lyrics, vocals and instruments are written and performed performed by myself..

Did anybody ask the Arabs exactly what they wanted
Before they smothered Palestine in the Summer of '47?
Why didn't David have the courtesy to send the eviction notice
Before turning Gaza and The West Bank into his bathroom floor?

Wasn't enough to screw the survivors of Hitler's 'Master Plan', leave
the Exodus hanging out to sea for all of seven months.
Whoring out the martyrdom for Truman to take the bait..

A 'Holy' epicenter for all the suffragettes all assembled for a new
Israeli state..

(Main Chorus)
Idol 2 Idle
Car bombs to coffee shops
desecrating mosques and synagogues
F-14s and Hamas

Idol 2 Idle
Jesus and body parts
all cut and blown to bits
And crimson-colored be the head of Muhammad
Shot 2 shit

In the center of this GodRape
Like flowers trampled underfoot
Menorah pre-eminent domain
While the crescent of a lesser prophet
Has no say

It's a blank space to a blank check
Big Brother American
Got to take up for their Jewish brothers
While making blood in the sand

You know it's quite alright to just go ahead and take all their lives
Their 'God' is Mud for he lacks money, and the big blue eyes
And praise Our 'God', and shoot the Devil, cos Allah is a Myth (yeah!)
Stab and shoot and kill each other in the name of stones and sticks..
And Praise The Lord and Pass the Pistol; Christian Armies march
Strap the bomb right to the child and blow him through the Stars

(Main Chorus)
Idol 2 Idle
Car bombs to coffee shops
desecrating mosques and synagogues
F-14s and Hamas

Idol 2 Idle
Jesus and body parts
all cut and blown to bits
And crimson-colored be the head of Muhammad..
..The head of Muhammad

It's all about your God.....It's all about your flag (x4)

Copywright 2008 ShoEnTeL Publishing(ASCAP)Share onFacebook

"All Is Love" Song Debut

2008-07-17T12:35:00.000-07:00

TheSongDiary : Volume 1

This is a new series that will feature brand new songs as I complete them for my upcoming (and often delayed ) "Programmed Response"

Todays New Track:

"All Is Love"

The dynamic in composing and songwriting is that it can come lightening fast, or can need some incubation time until the proper inspiration is found to give the song the proper vision and context it deserves. This song was a bit bit of a bastard in that I had elected to commit to transitioning in the mid-bridge in a completely different (but relevant) key signature. This coupled with the fact that the main guitar is electric-acoustic, and the second guitar was electric, both being at completely different tones altogether. It was originally put together in March 2007, but just completed with vocals on July 17th 2008.

The Music: The tonal shift/sound variation I actually liked, but I ended being rather put off about how tricky it was going to be to cumulatively get it cohesive enough to make it a complete song with vocals. If you listen closely, you can here the closing guitar at the last third of the song losing intonation slightly. rather than correct in the original recording, I decided to leave it instead, as I like the character of a 'build up' that inhabited with this anomaly. Electric guitars. many of which, do not retain their tuning very well, especially when the whammy bar is consistently applied...

The lyrics : my take on what it means to live in the superficial and perpetual singledom of Hollywood. There is a conglomerate of misery in this town that dwells among those who are trying to run with the hipsters and make their mark in entertainment. In doing so, they fail to recognize the importance of placing human intimacy ahead of attempting to 'keep up' with the glamorous lifestyle.

Years pass, and being perputually single has become its own inprisonment. The inability to not only acheive the dream of stradom but also having a genuine sense of true campanionship leaves nothing left but the bitterness and deprevity of the self-subjection to the material world. The very thing that was hungered for has consumed and devoured them, leaving nothing left to show but an acute sense of 'sour grapes' at those who have found love, while they themselves have only found it through the conditional dynamic of pet ownership and selfishness. Enjoy!

And, as always, all lyrics, vocals and instruments are written and performed performed by myself..

All is Love
Hide behind veneers and wasted years
And Times; and lines of empty voices
Filling Empty Rooms

All is fine-
An Easy smile, the madness of solitude
Break lights on a chance that you have
Set Ablaze

All is Love
closer to the Dog , than to your Neighbor
And Favor, what you can scold that has no Voice
To talk back...

And hatred's like a noisy anger
That burns the House inside your Head
No tears with eyes wide and dry..
So just fight and die instead..(X2)

..All is love;
Party favors wet with flesh
Dissolve in the morning haze..
What tasted like Fire, Now is Dead
In Your Gaze...

And Hatred's like an orphans' blanket
That wraps the cold inside your Head
No tears with eyes burned and fried..
You've earned the right to be Dead

..(And)All (that) Is Love, Has Died...(Repeat Until Fade, With Ad Lib)

Copywright 2008 ShoEnTeL Publishing(ASCAP)Share on Facebook

Bottle Rockets and Space Shuttles

2008-07-08T17:25:00.000-07:00

The New Age Of Fear, Apathy, and Complacency Has Killed True Ambition..Except Mine

KC Shoen

ShoEnTeL Music

‘Aim High’ has long been the Air Force recruiting mantra of the ages. The obvious implication being to dream big; go beyond assumed levity and expectation. Reach for the seemingly unattainable and achieve the lofty and daring which for most may appear impossible.

The concept also has great acceptance and admiration in the American lexicon. The crevasse between its sloganeering and actual application is, to say the least, incredibly vast.

Almost beyond being cognizant of one another.

George Carlin once said about the purchasing of motivational books, “ if you were already motivated to go and purchase the book in the first place, then your motivated. What do you need the book for?” I began thinking about the complexity of that seeming rudimentary observation while at a previous gathering. Talking with a friend of mine who recently acquired his necessary qualifications as a paramedic, it suddenly began to dawn on me how little Americans at current devalue true risk taking in the face of more ‘traditional’ career aspirations.

This friend worked like a goddamn dog to achieve this goal, and he was met with a large round of indifference by members of his family, some I overheard complaining about all the ‘wasted time’ he spent studying in various schools to acquire the degrees necessary to be an EMT. The most common complaint was that there was so much money he ‘lost’ in his schooling. It didn’t matter that the end-result is his finally achieving his goal, and is now working in his given field of choice, and that the money and time invested will now pay off thrice fold. He is living his dream.

Americans at current devalue
true risk taking in the
face of more ‘traditional’ career aspirations

It still didn’t matter.

No, he should’ve been more willing to just get out there and work some mid-level corporate bullshit job, overpaid for an expensive car, then bought a house to prove his immediate worth while still under thirty. Never mind the incredible unhappiness and sense of self-loathing it would have caused, affecting every personal relationship with those close to him. Just get the material necessary right away to prove your worth. It’s the American Dream.

Fuck being the Space Shuttle. Be the Bottle Rocket.

The economy being so incredibly fragmented and irreconcilably damaged has prompted more fear, and more leniency to this type of linear aspiration. ‘Just get a job that pays well, shut up, and stay there’. In the last eight years that I have been perusing music on a serious level, I have found a much more vehement willingness to hold on to such rancor in light of the jobless rate edging higher. There are times I’ve had to go back to a regular job to get money up and support my craft that I have dealt with employers who bristle at me when they discover I actually have ambitions beyond than what they are offering me within their company. I have even been cornered with “who the fuck do you think YOU are?” on many occasions. I attribute this defensive loathing to me being a musician and a label owner simultaneously. How dare I think I am competitive enough in the current abyss that is the industry to have confidence enough to strive for greatness and success!

How appalling to have ambition that breaks with the rank-and-file of American corporate sheepishness! The gall to sacrifice and skip on the finer material trappings for something more meaningful, and potential greater reward!

How dare I portend to be a Space Shuttle in a sea of mediocre compliance, fear, and culpability in the vox populi of Bottle Rocketry!

There are times I’ve had to go back to a regular job to get money up and support my craft that I have dealt with employers who bristle at me when they discover I actually have ambitions beyond than what they are offering me within their company

I don’t have much, really. What I do own is semi-functional to completely dependable. I do skip on eating out, turning instead to try to grab a special once-in-a-while moment with my lovely wife whenever there’s a little extra. My studio is about the only area in the home that is ‘new’, and this was (and is) obtained, to this day, through discounts and hook-ups through one of the many places I’ve worked at in the past. I have to mind my money, like everyone else, but it has forced me to become creative, and take more risks with my art.

Imagine that. Broke as hell, yet taking expanded risks..what a novel concept!

I decided in 2000 this is absolutely what I wanted to do, and only in the last few years has my vision for myself as an artist and a label started to come more into focus, and gain some fanfare. The dream is coming into realization. And this is the time to step on the gas. Work harder and smarter. Try to gain more traction. Try to get YOU to be a fan of me.

Because I am that damn good, and you would love what I have. And I believe that.

So should you.

Of your OWN aspirations.

Don’t settle for what it is in front of you, if your soul craves more. If you do, it is a slow and painful suicide of mundane and esoteric proportions. Fear creates hesitation, and hesitation is the gateway to failure. You can’t act if you can’t think clearly and without doubt.

You will be the bottle rocket. Small, short spurts of mediocre and meaningless achievement followed by an insidious ‘pop’ as the ceiling stunts your rise; coming to crash quickly on the asphalt.

Be the Space Shuttle. Go for the long distance; the incredible flight. See and do what others will hate for, as they can’t even aspire to such potential greatness, let alone take the risk to make that journey in the first place.

..and can you explode in mid-air? Yes. But you control that dynamic. Your decisions will determine whether you will remain buoyant, or if you will crash and burn. You own it; so do the maintenance to keep the machine flying.

I believe that.

Or else I wouldn’t bother with the passion I have for my art in the first place.

So, to hell with the bottle rockets. I gotta go fly...

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Easy With That Wire Hangar, Joan..!

2008-06-26T15:45:00.000-07:00

Kanye West's Bonnaroo Meltdown and Proceeding Fallout shows His Ineptitude at Taking Justifiable Criticism

KC SHOEN

www.myspace.com/shoentel

The Bonnaroo incident is now becoming the albatross Kanye West can’t seem to shake, His recent all-caps tirade-riddled blog is the latest series in the Kanye Unholy Trinity of Megalomania that becomes further evidence of what he defines as confidence is nothing more than self aggrandizement. Worsening this debacle into an unredeemable interstellar melt down of epic proportions is the rationale of ‘Ye assailing the one group that he shouldn’t have dare blasted..

The fans themselves.

I don’t condone their littering the stage with bottles to the point of making the stage into a three-inch deep pool of overpriced urine-flavored libations, turning his overly-convoluted techno concerted performance into a living electrical hazard replete with the opportunity for him to break his neck, much like having newly cleaned naked skin making unsure contact to a slippery floor coming out of a shower. West was right for addressing this in his mostly-adolescent temper tantrum-ladened bitchfest of a blog

Kanye West went completely off coarse when he decided to channel Joan Crawford, splitting hairs and ‘wire hangars’ about having his payday cut in half by the damage the pelting created, blaming the organizers for their poor coordination, and going as far as holding the same organizers accountable for not issuing a statement of apology on his behalf. The most entertaining bit of this Man-Diva drama was his blaming the fans themselves for not pulling off the performance the way he envisioned, ending his ‘Kanye Dearest’ rant with ‘(You) can never say I didn’t give my all’.

Well ‘Mr. Crawford’, yes we can say that.

Joan Crawford died May 10, 1977..Kanye was born June 8th the same year. Could his latest tirade be a convincing argument of him being Joan Crawford reincarnated? Hmmm....

And as much as I have bean-bagged WhutDoYaMeanGene Simmons for his inability to stand in on his ignorance with debates he starts, the one area he has completely got it on the mark is his interpretation of the fans role in Kiss’ sustainable star power and revenue garnering, being simply this:

‘The fans are our bosses. Without them, we would be nothing.’

Prince doesn’t do a whole lot of speaking, but his performance at Coachella spoke volumes as to his understanding of what his role was at the festival, covering Radiohead’s ‘Creep’ mid-repertoire; letting the fans know he understood His Purple Badness was NOT the focus of the night, and lending musical props to the band themselves, who actually were the anticipated centerpiece of that event.

It was respectful, even galvanizing.

But not ’ol ‘Joan’. Kanye decided this was all about him. There are a few things ‘Ye could’ve done to make the experience have more value (not to mention more tolerable) starting with a few simple rules for playing at a festival with multiple performances by various acts:

1) Keep it simple: There was really no need for the complicated neo-Funkadelic staging for his performance. Joan could’ve spared himself much aggravation and risk of technical failure had he just stripped-down the staging involved. This is a festival, not a ‘Kanye and Friends’ collective tour. This shows respect to the other acts involved, and allows room for any minor delays. The fans will appreciate seeing you perform, but will also appreciate you getting your ass on, and off the stage quickly.

2) Expect delays: Joan doesn’t have a good grasp of the concept that
even when it comes to His High Hip-Hopness, shit happens. Tech delays, staging
malfunctions, wardrobe difficulties, lighting gaffs all can occur without warning, and will, especially at a multi-act venue. Show some patience, girlfriend..go have a wine spritzer and a Zoloft. The whole world is not ‘waiting to see (you) fall’:many of us haven’t seen you rise. And so many more don’t care, BabyJane.

3) Communicate to the fans at the end of a long set delay ‘Ms. Crawford’ could have really done his ManDiva-ass a favor with this simple sentence “Hey, people, really sorry for the long delay..hope y’all ready for a really good set…!” This could’ve done wonders for the whole situation. Would’ve killed the ‘Kanye sucks’ chants, possibly turned to cheers and might’ve become the most memorable performance that evening. The entire coarse of events now that are happening would have resulted in the positive adulation ‘Ye so craves constantly.

What Kanye forgot in all this was the fans themselves. Rather than take charge of the debacle by way of an act of contrition to the audience, he elected instead to go on stage, make no acknowledgement of the horribly long delay, and then bitch when he rightfully got bean-bagged for it by the fans themselves. Joanie the ManDiva chose to blame the fallout on everything and everyone else except the real person who was responsible.

Himself.

It is his fault because he owned no accountability to it. And in the process, committed one of the worst cardinal sins:

Taking it out on the fans themselves.

So, listen closely ‘Mildred Pierce’, before you decide to have your fingers wrapped around the soft, pillowy buttons of your MacAir laptop, here’s a few things to consider before you attempt to ‘clear out some more wire hangars’, and beat us all down a la Christina Crawford.

Fans do not care how much revenue loss you took. They paid to see you, alongside other acts. That is your problem..

They are also not concerned about your fettered opinion in regards to your beleaguered tech delays and over-excessive staging and props, and whose fault it was that it didn’t come off correctly. You wasted their time, and then had the audacity to whine like a 5-year old.

What you see as an injustice and disrespect to your art, they see as you acting a little spoiled bitch, crying over your lost baby bottle. Fans also got a glimpse of your shortsighted pettiness and your over-indulged sense of self-importance.

If indeed you’re going to vent online for the entire world to see, and put out a screamer-blog, do us all a favor and UNDO the ‘Caps Lock’. Screaming in all caps is for children, and last I checked, you just turned 31.

And lastly, Joan-Kanye, you cannot defend the indefensible. Redirecting blame, getting huffy and defensive in a poorly written and ill-advised blog, then trying to assert your dominance in the game just makes you look and sound a right jackass. The fiasco is your entire fault because of your failure to plan properly, and to address this to the audience at Bonnaroo, before you started attempting to perform in that slippery beer-soaked pool of a stage.

If you lack the insight and common sense to understand the fans angle in this, you should check to make sure you have proper circulation of blood going into your cerebral cortex..

A good start is maybe to find some loose-fitting clothes. And take some accountability, and stop pissing off fans. No one is digging your act

‘Kanye Dearest’

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A Farewell To 'Uncle' George

2008-06-23T17:18:00.000-07:00

George Carlin's passing is sad, indeed, but also personally filled with irony

KC Shoen
www.myspace.com/shoentel

Danny Kaye is about as humorous today as dried fruit.

At least by today’s standards, anyway. But Danny Kaye, in the infinite scope and breadth of his outreach of talent in comedy essentially gave birth to another whose prose in stand-up would be unmatched by any of his contemporaries for five solid decades.

One George Denis Patrick Carlin Of Morningside, New York.

Kaye’s influence drove the ninth-grade drop-out, and dishonorably discharged Air Force veteran something to aspire to: tell jokes, and get paid for it. Carlin found his way out of the orchestrated and mundane world of over-obedience and decaying original thought that was American culture, then and now, by way of making fun of it.

But George really didn’t come in to his own until a repeat appearance on The Ed Sullivan Show with a bit called ‘The Hair Piece’, in which he traded in the signature clean-cut suit-and-tie for a pair of faded jeans, a tie-dye shirt and long hair.

Carlin also decided to do away with impressions which had been his mainstay of his comedic routine in the 1960’s, and instead became a counterculture icon. This was due to two significant events in his life that occurred almost simultaneously: the arrest of Lenny Bruce on obscenity charges (which he was present for), and that marijuana was not only useful in summoning the Muse of his art, but was also a goddamn great high.

It was 26 years ago, on a hazy and cold Utah evening in November 1982 that I discovered who, and what this George Carlin was. ‘Carlin at Carnegie Hall’ was the one I must have watched a thousand times, even recording it on audio cassette so that I could learn and mimic his act. It was hot stuff to a twelve-and-half year old. Especially his introduction of the Original ‘Seven Dirty Words’ which, in this particular HBO special, was expanded to about five hundred which he read off a scroll at the end-credits.

Not only was this remarkable in that he found new and improved combinations, but the fact he parlayed it into many variances and phrases both profound and ambitious..some never heard of before.

I can’t tell you what kind of havoc this brought me in Mormonland Salt Lake, when I decided to repeat segments of his act to my schoolmates while in class. So many were offended, but so many more were incredibly amused. Many conservative members of the faculty at Hillside Junior High viewed me as 'mind poison': keeping a watchful eye on the ‘little demon’, and since I wasn't a part of the bleating Mormon sheep-machine, I was especially handled with great underlying disdain and vitriol by these figureheads. Even as far as being excluded from special school events due to my ‘negative influence.’

And I don’t regret a single moment of this. And it’s all thanks to good ol ‘Uncle George’

A strange and wonderful education began with listening and watching Carlin over those formative years. I discovered something rather intrinsic and deeply fascinating about his work: He was an idealist with a pessimistic view about those who have an unyielding loyalty to the ‘rules’.Waiting for either natural or human created catastrophe to spell the end of mankind, where he could have a front seat like a spectator sport was another: so that life could ‘start over’ and perhaps bring about a better outcome than what currently seems uncorrectable and insurmountable at present, given our ‘reptilian’ tendencies.

Even his disdain for authority had an idealist nuance: presenting total anarchy as a means to discover genuine and original thought that could bring about real change, above and beyond what we call 'establishment’. Carlin’s knack for attacking Corporate empires in his latter years gave glimpses of idealism that suggested if only these entities were removed (even violently) it would promote free thought: unregulated, unfiltered, and without commercial saturation. Free thought and Being were always central to his themes, in one facet or another, much like Hunter S. Thompson and his brand of ‘gonzo journalism.’ the two were most definitely cut of the same cloth...

But the real strangeness in all this for me started here..

It was 11:00 at night, and I decided to breeze through some e-mails on that 22^nd day of June. Routine check-backs, reviewing the days messages, checking my Myspace, and whatever else needed tending to, that I suddenly found myself screaming at the Yahoo! Default page on my laptap. An entire part of my history had suddenly gone straight to the ‘past tense’ , and was no more in the living. It did feel like, in an abstract sense, a ‘relative’ had died; suddenly and without any pretense or appearance of impending expiration.

It was over.

All those Carlin-joke retellings ; all that preadolescent mimicry which evolved into true appreciation in adulthood now seemed vaporized. So suddenly, without a living being to attach it to. The being is now suddenly memorialized, no longer of the flesh, but now a eulogy. An epitaph. A weird and freaky little Uncle had transcended, taking with him his unyielding and nuanced humor that many to this day among the ‘family’ are still scared shitless to touch. A real funny sonofabitch, who would seem to have gone on boundlessly, is now absent.

Your favorite Uncle who knew your darkest thought patterns, and displayed them with incredible insight and verbal conciseness has disappeared from the barbecue, leaving only just the resin of time/space memory to quickly fill the void…and leaving you to deal with the other ‘pack of mutants’ at the cookout.

Uncle George has gone to The Great Gig In The Sky...

And it gets a little more ironic..

-My current song “I Am The Air”, finally debuted after two weeks of delays and programming errors on the part of A&R Limited, the company that features ‘The Indie Revolution’ show and podcast. The original date of it’s premier was June 8^th. Instead it debuted this past Sunday..

June 22^nd

-The song debuted in one of the largest music markets in the world, on a station that has an audience of approximately 1 million listeners locally. WMIR 100.9 FM, which is located in Long Island, near George Carlin’s birth city and in his birth state..

New York

-George Carlin passed away at St. John’s Hospital at approximately 5:55pm. The hospital is located in Santa Monica, California..

located about 4 miles from my front door

‘I Am The Air’ is a song about transcendence from the material plain; rising above the violence and sheepishness that seems pervasive in our times, and finding true spirituality from within, not without. Because of all of the strange coincidence involving his passing, and because he was truly a hero of mine, I would like to dedicate the main chorus of the song to his memory, as I think it is fitting, oddly enough…

I am the air above the sea

The sky above your debris

I am alive beyond your sight

I am the ghost leading this fight,

Clearing off where you sling mud

Reaching for god, as you draw blood

And I won’t come down…

…And I won’t come down…

Whatever these strange coincidences are suppose to validate, I'm not sure..but I just want to say goodbye, Uncle George. Thanks for validating my weirdness, and giving me a 'place' for my 'stuff'

'Guerillas' In The Mist?

2008-05-27T13:08:00.000-07:00

New Cooperative Merlin Seeking To Be a 'Major' Player with No Gameplan Other than Its Size

KC Shoen
www.myspace.com/shoentel

It is amazing what travels under the media radar as it pertains to the industry of music.

It would seem that Charles Caldas, a long-time veteran CEO with Victoria, Australia-based Shock Records has taken on the role of "Biggest Gorilla in The Room", successfully launching Merlin Network, an internet-based co-operative basing its ‘conceptual mandate’ to act as a guardian for the rights of independents to fairly gain a share of the marketplace via distribution through alliances with SNOCAP, and engaging in negotiations with soon-to-be launched Myspace Music for fairer placement and representative exposure, which is tantamount for any indy artist to assist in gaining traction and monetizing their art.

Charles Caldas-CEO/Merlin Network

The launch itself, which took place quietly on November 19^th, 2007, has (according to a May 5^th Article in ars Technica) garnered support and alliances from 12,000 independent labels worldwide within the last month of Merlin’s official door-opening to applicants desiring its umbrella services. From notables such as NettWork , Koch, Razor and Tie, and Charles’ alma mater, Shock Records joining the alliance, Merlin’s CEO believes that by galvanizing these vast numbers for the sake of being a one-all ‘licensing rights clearinghouse’ will better position itself at the bargaining table against the likes of Universal, SonyBMG, and Warner Music Group, being brandished as a ‘Fifth Major’.

The fragmentation that has always been the crutch of the independent label has been widening within the last five years due to the slow death of the Majors themselves, the imperative becomes to regain that lost stronghold, and according to Mr. Caldas “where it is clear that a central negotiation is the only way in which to achieve access to, or an equitable share of revenue streams.” It is no secret that the Big 4 are still trying to reassert their dominance via the constant outpouring of mainstream mediocrity and band-brand recognition in hopes to retain control of the very market it help to create. The same one they are losing in droves. Indies accounted for 27.5 percent of total music sales worldwide, which amounted to be the largest portion entirely for 2007.

Conceptually, this makes sense. The fragmentation now reaching epic proportions represents a sort of untapped market in itself: a vast and valuable hidden treasure waiting to be unearthed, with Merlin presiding over it, assuming the position to deliver back to its coalesced indie alliance by way of trickle-down revenue sharing that would give greater ability to launch new acts who are up-and-coming, and sustain operations for each label without encumbering the way each one runs day-to-day. Allegedly, all would benefit, including my label.

The Bigger Gorilla would be a Nicer Gorilla.

And disintermediation would be to the advantage to all as part of our participation. Disintermediation, at present, many of us have already substantially taken advantage of in many forms. Enhancing competition is very important indeed, and Charles Caldas understands this. His work at Shock Records and some of their incredible success as an independent label is attributed to his work He states further to the intent of Merlin “ I believe that all independent labels, distributors and aggregators should join Merlin. The broadest possible membership will not only maximise the impact of Merlin but also allow us to enhance the ability for our members to compete in the market.” which would imply safety in strength of numbers. This Gorilla having many arms and legs.

But Gorillas become guerrillas when unchecked.

EMI and Warner music in their earliest beginnings brought forth this type of all-in mentality: for the greater enhancement of lesser-known, but talented artists and bands. And look at what they have become. It is not to suggest that Mr. Caldas has any ill-intent with the creation of Merlin, and the organization offers an opt-out policy, with no fees or percentages attached for membership, but this approach leaves questions as to its validity and viability. Sure, as a united front , Merlin now has something that the indies separately never acquired and that’s clout, but as all of us are trying to eek out monetization and control over our respective destinies the question becomes at what cost?

I have a difficult time adjudicating to the perception I stand an equal chance at consideration for distribution/licensing/exposure amongst the likes of more visible labels such as Koch, or Nettwork Records. Arguably, how much of the revenue-sharing is going to be as protractedly meaningful with lesser known labels and artists, whose rosters are equally as strong, going to gain in that system? And as being purported as a ‘Fifth Major’, what good is it to be part of a large monolithic cooperative that encompasses so many labels, each with their own agenda, dynamics, and revenue stream? The logical assumption would be that the smaller guys still lose out by virtue of their obscurity against larger, more well-known independent labels which leads to the last, more important question: What can Merlin do for labels such as mine that I can’t do for it?

One would think I could go directly to Merlin and ask, but the truth is, they don’t even know. After poring through their website, all I found amounted to be nothing more than a collection of mission statements and subdued ‘cheerleading’, with nothing concrete in the mix. To be fair, they have only in existence since last November, and are still in a development phase, while currently negotiating with the likes of Myspace, which is pretty heavy in itself. The clout is there by it shear numbers, but numbers alone does not automatically equate to a lucrative outcome for all.

Here’s a really extreme example: The U.S. Government sent our military into Indochina (Vietnam) with the sole intent of “relinquishing control of the Southern region from the communist scourge” The French bailed in ’59, and the U.S. began a ‘police action’ where in by it attempted to train the southern Vietnamese to take arms against the communist infiltrators that where trying to unite the country under one governmental regime. By 1962, John F. Kennedy, in several meetings with his Cabinet, noted how the southern Vietnamese seemed uninterested in taking up such arms, almost willing, in some respects, to join with the North in unification. Seeing no sense in further participating in an attempted democratization, Kennedy began to move towards withdrawal altogether, but due to the Bay Of Pigs fiasco, the Arms Race, and The Race To The Moon (NASA Program) he was unable to follow through with his intentions. By November ’63, it was time to turn focus toward re-election..and then came that fateful day in Dallas. The Vietnam War itself became the war we meant to loose, and a large reason for that loss was three-fold:

1) The politicizing of the War at home; with politicians not allowing military brass to complete their mission as they were intended.

2) The growing antipathy and hostility among the general public, whom were not in line with the vision of the war, exasperated by the lack of vision given by the American Government as to what our purpose was in Vietnam

3) The internal corruption at the highest levels of the both the U.S. Military and The U.S. Government, further expunged for the general public to witness, which furthered the hostility and drained any potential public support for the war itself.

There was also the component of jungle-style guerrilla warfare administered by the Viet Cong on the ground, the likes of which never the American Military was unaccustomed to dealing with at the time. No game plan was properly administered by the U.S. Department of Defense to cope with such deviate warfare. Could it have been? Yep. But just because you’re the Biggest Gorilla on The Block, does not mean you can’t be taken down by Other ‘Guerillas.’

Numbers alone won’t win the day. There has to be a discernible gameplan. Merlin at present doesn’t possess one. It seems banked upon the sole fact that 12,000 labels are ready to go to war at the bargaining table against the Big 4. This is all very romantic, to be sure. But in that room it will be a Gorilla verses several Guerrillas, and given the abbreviated historical reference I’ve given above, who do you think stands the better outcome? And given the intended internal design of Merlin, what would stop this group from becoming palm-tree snipers in the rain of gunfire in this war, just to compete?

It will be bananas verses bullets, really.

To join a group of evil music industry veteran Snipers, or to join a group whose only brinkmanship is standing 12,000 labels tall ?

My bet’s on the Guerrillas..and, potentially, the Big Gorilla to turn the same way after all is said and done..

Me? I’ll stand watch. And stay on patrol..for now

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They're Not Suppose To Know

2008-05-19T11:40:00.000-07:00

The Struggles, The Frustrations, The Sheer Hell Of Making and Selling Music Is A Demon The Fans Just Don’t Get..and Ultimately, Don’t Need To Know

KC Shoen
www.myspace.com/shoentel

There are some days I get so goddamn tired of it.

The sleep deprivation, having to strategize where to place my music next, seeking licensing, go over various contract agreements, submitting to radio stations, creating new contacts, drawing business plans , meeting with investors who are horribly out of tune with the current new reality of the music environs, trying to keep other artists continuously motivated to have patience that this label and myself will come through successfully…and still keep on with my production and songwriting from my one-man studio…

There are times I get fantastically fed up with trying to seek an audience, either on-line, on the phone, or out in the shops. Trying to convince just enough peeps out there on the planet that I am actually fucking good..no…great at what I do, and that they should discover how good it really is, and drop some cash on it. Constantly striving to portend a sense of wherewithal and cohesiveness in a blindingly changing atmosphere that is the digital domain, all the while still maintain healthy relations with family. Just trying to act like I’m awake at the dinner table and at least give a smile.

And what is not sometimes entirely understood by the music-listening public, is what an incredible bastard it is to function creatively and commercially. To really have an impact, it takes solid music (commercially), and dualistically tracking the business end of advertising, marketing, and promoting, creating just that right song or CD to hit just that the right ‘demographic’ The constant shortfall of revenue verses rent: working punk-ass 9 to 5 jobs verses trying to convert to subsisting off your art. The days where you feel absolutely in blackout mode from the constant grind of just getting enough people just to say ‘Yeah, I’ll cop that..that’s dope!”. And in my case, it’s the nuance of not sounding like ANYONE else out there. I just sound like…me.

Doing music is a labour of love, and some days that love is a bitch. A lot of pure music fans just don’t see this dynamic. Don’t get it, and couldn’t possibly understand or appreciate this unless they did the same.

They’re not supposed to.

Their job is simply to listen and buy the tunes they like, go to a few concerts, maybe cop some merch or download the latest video of that great band they’re feeling right now. Their only role as music consumers is just that. To consume.

In the new reality, they not only want your music, they want to engage you on some level. Get to know you. The music marketplace has so vastly changed by way of the internet, in that people not only want your music, they want to read your blogs, join your profile on Myspace or Facebook and leave comments. Shit, they even want your e-mail so they can ‘rap’ with you further.

Engagement has become just as important as the music itself, and in some cases it’s all about the interaction via cyberspace almost exclusively, which for an artist or band, can be a bit daunting, even overwhelming…

Overwhelming, in that you and me, as artists and bands, have already turn a 24-hour-day into a 72-hour-marathon of sorts. With no real time in between, especially if you’re still building a fanbase from the ground up. You’re already grinding. Now you have to add yourself to the ‘social networking’ process: Write blogs, do online interviews on mediums like blogtalk radio, send bulletins, leave comments in response to fans through their profiles. Playing out live and recording isn’t enough. Now they want to chat with you, IM you, Google you. See what your going to do next, jonesing for that new tune your suppose to be coming out with. The total package.. These people just don’t know what we go through.

They’re not obligated to know.

They are the reason, aside from the passion of making music, that we do this. There’s nothing quite like the feeling when you know your pushing crazy units off your online digital store, and it’s solely because they love what YOU do. It’s the ultimate form of both gratification and validation. There is nothing like it. Coupled with the added glory of one day, never having to go back to that wretched, mediocre Warehouse/File Clerk/Music Retail/Security/Construction/Manager/ Assistant slug slaghole of- a-dastardly-demon pantheon-dearth-of -all-things-impure,- obsequious,-and-enslaving JOB ever again. Music will be your ‘job’. Even better: your new ‘boss’ will be that same group of unknowing consumers who haven’t a clue as to what you had to do to bloody get where you are: The Fans.

They will never really know. And they’re not supposed to.

God Bless ‘em… One and all.

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The Resurrection Of Melba Moore

2008-05-10T14:53:00.000-07:00

It's An Overused adjective, But This Is No Ordinary 'Comeback'

Melba Moore in a live performance in Lyon, France May 3rd, 2008

KC Shoen aka 'PNG'
Artist/CEO
www.myspace.com/shoentel

There is no logistical reason for Melba Moore to be anywhere near relevant in the music scene as it is now.

The 1993 divorce from Charles Huggins wasn’t just your average celebrity carnival melt-down scrapper between two megalomaniacal cads who wish nothing further than to dowse each other with ad hominem just to get some media attention for their respective selfish causes, real or imagined: what we normally expect to see in our tabloid-obsessed media culture.

Not even close.

This divorce had so much more toxic potency than that. It had all the makings of being a bonifide coup de grace. Huggins, a ne’er-do-well liar, thief, and borderline sociopath spent sixteen years absolutely raping the Peach Melba of all her earnings by maliciously defrauding her name in by way of numerous account openings, land investments, and opening lines of credit without her knowledge or consent. But he wasn’t done there. Just to seal the deal, he set about going public to whine about what a lying, crazed loon she allegedly was. In the court proceedings themselves, Huggins tried every available legal angling to make Ms.Moore the poster child of morbid delusional paranoia. And to add a bit more arsenic to the open wounds, Huggy-Bear almost achieved complete destruction of her relationship with their only daughter, Charli.

All this under the harsh reality that her marriage (at least on Huggins end) was a complete façade, and a platform for which a coward could use the sanctity, and legality of the marriage and business partnership for his own gravy train ticket to ride. Doubly insulting, was the way the vermin of the New York media ate up the financial toll put upon her, further putting more salt in the gash by way of violating her privacy, humiliating her for their own ends. Any lesser individual might have gone clock-tower sniper, maybe dissolved their will by way of chemical abuse. Even as far as suicide. And Charles might have had his way entirely on all counts, but he had one problem:

Melba Moore.

Rather than lie down and surrender out of the entire intensity of that debacle, she fought back, never losing her calm in public, refusing to let intimidation make her react irrationally, and staying focused on the fact that she had the truth. As the years went on, and as her visibility waned, she never stopped working, even going as far as doing a three-woman play in a regional theater in Florida. She was even evicted from her apartment, as the years of fraud coupled with litigation left her destitute, having to even go as far as to apply for welfare for a short period. Yes, I said it: Melba Moore and food stamps in the same sentence…

There is no logistical reason for Melba Moore to be anywhere near relevant in the music scene, and given all this, even remotely sane enough to hang on…

Enter Ron Richardson.

HushTown Entertainment was originally ran by Huggins from its earliest beginnings in 1976. As Melba began to win lawsuit after lawsuit to wrest control of her career from Huggy-Bear’s clutches, she installed Richardson: the son of Donald Raysor, the replacement for Ronnie Bright in the famous doo-wop group The Valentines, and godson of the legendary (and rather notorious) producer Richard Barrett (for you youngins’ out there, just google “The Valentines”, or go to Wikipedia and do the same). Having come from such great stock, Ron had a predisposition for what he calls “classic acts”, and began his career booking such acts to venues that otherwise they could not obtain themselves, particularly if they had been out of circulation.

As time went on, he went into management, specifically focused on, as he explains “these classic divas (who) suffered in the business and with there so called ‘soul mates’”. Melba couldn’t have asked for more qualified candidate than Ron, not just because of his experience, his passion for the “classic” sound, or the unique music bloodline he came from. It was something deeper..unusual, even by today’s standards.

He actually gave a damn.

Ron Richardson, by nature of his strong Christian values, nuanced by his real-life earthiness in life experience, was a natural fit to lead in the New Era at Hush. As Melba poignantly pointed out on a recent on-air interview I was a part of, she said of Ron “He developed my philosophy—‘if you don’t know-learn’” adding “ ‘if you have a passion (for it) you can learn’” A simple statement that encapsulates the entire complex position that the Peach currently resides: She has learned..

It took up to as recently as 2007 before complete justice was served on Huggins (by way of incarceration), and for Melba to start receiving the full-on royalties she was long overdue. A testament to her faith, she is more than just a survivor. More than just recovered. She has learned, and from the learning an impossibly imagined growth now finds her at the precipice of regaining that top spot..and keeping it.. “Nobody But Jesus” was the featured track on the Virgie Lindsey Show, and although the playback through the radio program was scratchy as sandpaper, I heard something while on the line that stunned me almost to a hault…

She’s gotten better. Vocally. Emotionally. Spritually.
Don’t take my word for it..Listen for yourself.

There is no logistical reason for Melba Moore to be anywhere near relevant in the music scene. She is, however relevant. Her music is evolving. Her marketing strategy is evolving, Her management is nails, and she’s due to release her first commercial CD in years. Melba is relevant. It’s not logical.

But neither is faith.

…As Ron would say “ *ponder*”

www.myspace.com/melbamoore
www.myspace.com/hushtown

This is from the live radio broadcast in which Melba Moore and I talked about the music industry and new artists.
Her advice is gold to anyone trying to make headway into the music world. A solid listen. Thanks To the Peach for taking the time

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Gene Simmons: Egocentrics, and Aging

2008-05-03T17:17:00.000-07:00

Correspondance is evidance of Rockers' lack of Relevance, and lack of accountablity of ignorance in his Twilight Years

KC Shoen: CEO and Artist

ShoenTeL Music

Letter One On Gene's Site

Letter Two On Gene's Site

These two links amounts to the discussion I had with Gene about the industry back in November of ’07 on his website. It is important to read as to understand my angle, and why I stand by my contention about him:

Gene Simmons doesn’t know shit about today’s music industry.

I now understand why Bob Lefsetz comes after him on his blogsite with such accentuated vitriol, and, to be honest, I have withheld criticizing the very man whose business acumen I highly respect.

But I don't respect the manner in which Gene actively engage me in the aforementioned discussion, only to withdraw in silence after I called him to task about his ignorance, and his indirect assumption that my label, ShoEnTeL Music, equates to running a 'charity', not a business.

And as a musician, the music of Kiss itself I have always found to be rather overly-wrought with simple chord delineations, garage-style antics, adolescent anthems, and preaching the repetitive theme of Rockin’, Rollin, and Fuckin’. Substance was never a priority: money and sex were. The nuance in this is I still love AC/DC, and their themes are consistent in that same vein. The difference, however, is ‘DC has an important element that is wholly lacking from The Simmons/ Kiss’ repertoire of pyrotechnics, demoniac make-up and vaudevillian showmanship:

They have actual talent.

And the many decades that have passed since both bands have been in existence, AC/DC holds another talisman over the heads of Gene Simmons/ Kiss Inc.: Relevance. Nearly 35 years since “Jailbreak ‘74”, AC/DC is still putting out new material to this day, and still garnering new fans, continuously augmenting the original, aging core.

Kiss, however, hasn’t managed to muster material of any new heat since 1983. Animalize was the last album that brought any new fans onboard to "discover" them. Since then, it’s been an entire rehashing of old catalog familiarity to keep that machine going, alongside the touring in full costume regalia that has been in regularity since 1996. Even at the time of this article, they are currently on a world tour (May ’08), as the fully made-up version that dominated the rock scene during the 1970’s.

This alone speaks volumes as to the mind and culture of Simmons himself: Kiss is but a product, much like Coca-Cola and Frito Lay. Unchanging. The rabid fancore is reflective of this, as there seems to be the need recapture the old ‘glory’ that was in vogue during those formative years. And they don’t want their band to tamper with the legacy by releasing anything new or evolved that would in any way stray from that sentimentality. It would wreak havoc to the senses to accept anything outside of “Kiss Alive”, “Destroyer”, or “Double Platinum”: progression be damned

Gene Simmons in the past has complained to various media outlets that “I can’t sell a million copies anymore in today’s music market”, and he's right. He can’t..but it is not due to illegal downloading nor the depreciative value of the music itself as he has surreptitiously and repetitively contends . It is because Gene himself can’t do it. And beyond the expansive catalog, nor could Kiss. Why? Because of one other element alongside talent is needed to achieve such ends:

Relevance.

And musically, he and Kiss possess zero of that.

Gene’s last solo release is evidence of this, when, in 2004, he, alongside his new protégé, BAG, dropped his first solo effort since 1978, called ‘Asshole’. Though the production was tight, and the music somewhat affable, the critics killed it, (the worst rebuke was AllMusic, stating ,."Everyone else who is merely curious should wait till it hits the cutout bins, get the edited version for the sheep bleats, and be happy that Kim Deal and Shannon Tweed are getting paid.") It bombed straight out the gate. Failure is something the egocentric Chaim Witz is not accustomed to, and since then, Simmons has not really broke out commercially with anything new, lest you count his seemingly sheepish attempt at marketing a two-song CD enclosed in his "Money, Sex, Kiss" book as a proper ‘commercial’ release.

Gene’s not an idiot, however, but he is in complete denial about the New Reality of the Music Industry: unwilling to see past the illegal filesharing which he seems to think culminates it entirely. It doesn’t. Gene’s problem is not that the industry’s dead, it has merely changed, and he is ‘dead’ to it.

He is not the only cronky aging Baby Boomer that has this latitude. Legendary producer and musician Bob Ezrin (Pink Floyd, Peter Gabriel, and Kiss as well) has echoed similar sentiments. I have personally, in my own business dealings, seen this up-close and personal with such archetypes. It’s what I like to call ‘The Bitter Old Codger’ syndrome: the dis-allowance of change they can’t understand, and bitter that they, in their elderly state, can’t ‘play the game’ in the same manner at which they were accustomed to in their more successful younger years. Change has left them behind, as it is easier to rest on what you have done, than to attack it in a new way and take the risk in re-entering the music market when you’ve been out of circulation.

Change is harder when your old, especially when you get too comfortable with the way things were.

This is the last correspondence I sent him which was in response to ‘Letter 2’:

"Well written, but misguided. In simple terms, IF YOU want to put YOUR STUFF (and that means music you own) on the internet for free. You have that right. Ideally and legally, no one else has the right to: share files, copy songs or send them to anyone without (a) getting approval of the owner of the material and/or (b) paying for that privilege. Last time I checked, it was called the MUSIC BUSINESS...not the MUSIC FOR FREE BUSINESS. And, it's not a charity. It's an enterprise."

Hey Gene,

Please pardon my brazenness and confusion, but what the fuck are you on about? Amazing how you have colluded my business with 'giving music away'. Let’s review briefly my points that I have previously stated, because it's obvious you've missed it...

"(music)file-sharing, .... is illegal. Period."

" Truthfully, the real damage to the recording industry brought about by' person-to-person' file sharing is to Artist's catalogs."

“As far as mp3 downloads, I'd rather pay .69 -.99 cents for a quality track I know will sound good, then illegally download the same track that might sound shitty, atop of possibly containing a virus that will bugger my already-terminally-ill PC”

"... As an unknown Artist, I'd rather offer a decent 'giveaway' that fans could have for their own. I also want to offer them little 'perks' now and again for their loyalty..."

" I don't have any misalignment with you about illegal downloads"

".... And I choose to be at the forefront..much like you have done..but in my OWN way...."

And I did state that filesharing will remain a part of The New Reality. But this doesn't imply that I wholly sanction it, nor that I am going to turn over my entire catalog for free. I would be a complete moron to be in the business of music only to give it all away just to gain traction. It not necessary and is counterproductive. And, through all my correspondence, I never once suggested that this is what I am doing. My exact stance, in as far as my progress was this:

"..This internet label I own IS gaining TRACTION. It's still early, but the momentum is there. My music is gaining interest..and sales. Again, it is STILL early."

From any of this, where did you get the impression that what I am doing is connotative to 'charity'? Would I allow a free download on occasion for free as a means of promotion? You bet. Particularly, if fans have been proactive in BUYING and SUPPORTING what I'm doing. It’s much similar, in many respects, to giving free merch away at a concert.

I have gathered two dynamics with you in as far as the subject is concerned

1) Beyond your definitive stance on internet piracy (which I concur), you are overwhelming ignorant about the current status of the music business in cyberspace.

2) As ignorance does breed contempt, you are also unwillingly to absorb the nuances of this subject beyond what you ‘see’. There is no presence of a ‘360’ view, for you have not researched. Hence why your response is so categorically out of context.

….which I have found incredibly irritating about your recent comments. Since you haven’t looked into any of the information I’ve offered to you, lemme fill you in on what you DON”T know…

1) LEGALLY downloaded music files (i.e. PURCHASED), exceeded “plastic” CD sales for the first time in music history, in 2006. As of September this year, it is estimated this trend will possibly double by the close of 2007, according to SoundScan.

2) “Independent’ music labels garnered 28.4% of world-wide revenue in sales in 2005. It is the first time in industry history that the ‘independent’ outpaced the ‘Big 4’ (SonyBMG, WMG, Universal, and EMI) on a one-to-one per capita basis. It has been projected by various business analysts that the ‘independent’ sector’s portion could crest to 40% by 2010. Mergers/Acquisitions, changing consumer tastes in music, the advantage of personal music catalog customization utilizing the popular iPod mp3 player, as well as illegal filesharing, are the indicated factors.

3) The recent multi-million dollar 10-year contractual agreement between Madonna and Live Nation inked in Oct of this year, is this first time an Artist with that level of ‘brand recognition’ in the music marketplace has waived their ongoing contract with a ‘major’ (Warner Bros. since 1982), in favor of a more lucrative, independent contract that involves multi-level merchandising and digital distribution of both live and studio-recorded material exclusively through the internet. It sets the possibility of lesser-known, emerging talent to enjoy a broader level of exposure not seen previously, and that live events now take on a greater roll than ever before.

As far as being ‘misguided’ is concerned, your lack of insight and vision has made YOU more intolerant of change, and has caused you (at least with me), to appear trapped by ‘tunnel vision’. You seem to despise what you can not fully understand. Maybe this time, even if you disagree, you can keep it IN CONTEXT. Piracy is only ONE dynamic of MANY that are currently driving the continuous change in the industry. Not the ONLY one

I have also the proof that you don’t know shit about what I’m doing, for if you had investigated it, you would’ve found I have a fully operating digital store on my website, and the fact that that my company logo contains the FULL name of the label:

“ShoEnTeL Music ENTERPRISES”

His response? Nothing.

I am one who likes to engage people on such issues, and I myself don't mind standing corrected, especially if I come away learning something I hadn't known before. My biggest peave in regards to 'WhutDoYaMean Gene' was his obvious withdrawal from the discussion, which he willfully took part. And in the following months since then, I have tried to re-engage him, and he has since not posted ANYTHING of my multiple correspondences since.

It is an obvious snub.

It is also obvious he has nothing of any value to offer to this, and does not like being cornered, in particular, when he's made to look an ass on his own website.

And for all his success with product endorsement, the merchandising of the Kiss franchise, and reality television, Old Man Simmons is a stodgy old codger when it comes to the very industry that made him. An industry that has gone through some miraculous changes. Of which I'll close this article with a line quote from Ben Folds:

"The 'WizMan' will never fit you like like the 'wizkid' did/
So why you gotta act like you know when don't know?/
It's O.K. if you don't know everything..."

And the title of the song from which this quote comes from, encapsulates this whole sordid mess of ignorance, assumption, and egocentrics in regards to this elderly yutz.

'Old Bastard'

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Interview 0n Dec. 12,2007

2008-02-26T10:14:00.001-08:00

Kanye West: Master Diplomat

2007-11-30T11:58:00.000-08:00

His mastery at diplomatic honesty and nuance is unparalleled. There's a reason for it.....

"It ain't braggin' if it's true"

This is one of Kanye West's famous lines uttered out of his solipsistic gob the night of his sweeping victory at the Grammys in 2005. Kanye is not known for his subtlety or humility when it comes to the perception of his own talent, or how he deems fit to be acknowledged by way of accolades at every possible award nomination that swings his way. Even as recent as this years VMA awards, 'Ye took the opportunity to bitch about the iniquitous nature and dubious slight that the idiot-savants at Music-less Television gave him, swearing to never do business with their likes again. I could use other examples to pin Kanye as a truly over-rated egocentric asshole and megalomaniac.

But not today.

I could sit here and decry his lust for dominance in a genre wrought with mediocrity; wholly lacking in originality. Diss him for his insatiable need to be as a Nero of the modern times; playing to his muse at the expense of true talent that he himself does not possess as an MC, or producer…

But that would make me the truest asshole.

It would also make me lose credibility as someone who takes an objective and balanced stance on things that occur in the very industry I belong to. I could Kanye-bash..

But not now.

Not after the recent media events that have involved him, predating his mother's untimely demise on November 10 of this year (2007).

Walk with me back to 2005, to the televised fundraiser for Hurricane Katrina, in which Kanye dropped the truest words ever spoken about that debacle, and the level of incompetency exhibited by the Bush administration that had teetered into the level of pure carnaval-esque curiosity.

"(President) Bush doesn't care about black people"

Watching Mike Myers almost curl up into a ball after the live cut-away, and then nervously try to stay on cue reading from the script was embarrassing. Not because of West's' comments, but of Myers inability to stand in with Kanye on that observation. It was the utter truth. Unfiltered. Austin Powers could take it, it was too uncomfortable. He cowered like a frightened field mouse surrounded by a pack of hungry kitties. In the days proceding that event, West never back down from that point, nor apologized, adding:

"… You see a black family, it [the media] says, 'they're looting'. You see a white family, it says, 'they're looking for food'. And, you know, it's been five days [waiting for federal help] because most of the people are black. And even for me to complain about it, I would be a hypocrite because I've tried to turn away from the TV, because it's too hard to watch".

Again. Honest and unfiltered. In just that portion of the quote, you see something very consistent with Kanye's character: diplomacy. Here's another example from an interview he gave in Entertainment Weekly later in 2006, referencing the homophobic proclivities and 'gay bashing' that goes on in the Black community:

". I think in the daily life of a black male, we gay-bash way more than we disrespect women. We would call a gay guy a fag to his face. But if we walked up to a woman and said Aiight, bitch! we would know that was disrespectful… And I actually (thought) that standing up for gays was even more crazy than bad-mouthing the president. In the black community, someone could label you gay and bring your career down. But that was me showing what black people are really about today, or at least what we need to be about…"

Homosexuality is a seriously taboo subject among most African-Americans, and Kanye's treatment of the subject is not only direct, but if you notice even from these abbreviated examples above, they are consistent, in that West has the ability too few people (especially in the U.S.) have: Nuance

Nuance is an important ability, for it gives one the objectivity to decipher poignant issues with greater clarity as it pertains to oneself. Being able to self-critique as to your own view on a given topic in a raw state also gives brevity to credibly offer insight without sounding pious or seeming completely arrogant. With this trait, if well-developed, allows a '360' view to an issue, and makes it more pliable to allow self-scrutiny and accountability for your own actions: recognizing that you are not above reproach. It is a great way to attain better accuracy of assessment on a subject, for your able to view it from all sides, and still confidently render an unbiased opinion based on pure understanding of the facts.

Nuance is the nucleus of good diplomacy and solid bridge-building.

Another case in point; The simultaneous release of his "Graduation" CD alongside 50 cent's "Curtis Jackson" in September 2007 and the ensuing flap, in which 50 tried to call out Kanye into some kind of competitors tryst by way of any media outlet that would here it . Jackson did everything possible to promote some kind of feud, even challenging 'Ye to a debate on BET. Kanye's response? This little gem:

"When I heard that thing about the debate, I thought that was the stupidest thing. When my album drops and 50's album drops, you're gonna get a lot of good music at the same time."

In that single comment, 50's attempt at generating publicity for his own release fell flat on its face. The media aligned itself with Kanye's view, at which Jackson had to back-peddle. Whether wittingly or not, Kanye single-handedly made 50 look a right ass by doing what he always does: giving on honest appraisal by way of a nuanced response. Lesser entertainers would have fed in to the pseudo-challenge, seeing a chance to 'wipe the floor' with Jackson's ass. West, not seeing the value of even entering such an obvious attempt by 50 at gaining traction for his own release, declined to participate. It's such a solid response, one would even gain the perception that Kanye did this with premeditated malice, knowing what Jackson was trying to achieve could be reverted by offering this "olive branch" of a comment. Whatever speculation one might derive, the truth is this: It is always better to take the high road in this situation. Never disrespect your craft to feed the desire to 'cast your pearls before swine' to prove you're the better, when you know you already are.

End result? "Graduation" (as of Nov. 2007) has outpaced "Curtis Jackson" nearly 2-to-1, having gone double platinum. Accident? Fuck no. Kanye's album is far superior in style, content, production, and arrangement.

And Kanye knew that.

West also knew 50 cent relies heavily on outside production, sampling, and beat-making. Kanye is completely "self-contained", understands his fanbase, and knows how to sell to them. Curtis Jackson, as West undoubtedly understands, is less sophisticated and does not possess the type of acumen in this regard as he does. It was a no-brainer…

And a no-brainer because of Kanye's advanced adherence and application of nuance: He is not interested in burning bridges with the likes of 50, for somewhere down the road, he might end up in a lucrative collaboration with him. This is not just business genius on Kanye's part. His ability to assess possible future enterprise is in direct correlation with his innate skill in thinking in a nuanced fashion, keeping the lines open for potential gain later on down the road. That explains also his fluid willingness to record with lesser-known "underground" hip-hop artists (at the time) Talib Kweli, Common, and Little Brother to name a few. If you burn bridges, you can't cross back over in future endeavors. I'm absolutely certain there are other motivating factors. I'm merely addressing this particular one as to support my point.

A point even the vitriol Evel Knievel can now attest.

Yes..the hateful, borderline xenophobe, always cranky and bitter Robert "Evel" Knievel . Just recently, (Nov. 2007) these two came to an amicable settlement in regards to a lawsuit Knievel launched last year over Kanye's use of his trademark jumpsuit and reference to his failed '74 jump over Snake River Canyon Idaho in the video for "Testify". Ole Robert, who had said of Kanye's video was.. "promot(ing) his filth to the world," said recently of Kanye (after the settlement was reached) "I thought he was a wonderful guy and quite a gentleman," stating further of the recent loss of his mother "I know he's had some tough times the past few weeks, and I hope things work out" What??"Evel" Knieval making nice? To an African-American Hip-Hop icon? Expanding the shocking round of momentary kindness , even lent himself to this photo-op:

(I like the "streetpeace" pose)

Unbelievable. This photo was the sheer reason I wrote this blog in the first place. You have got to have serious juice to pull off what West did with this surly old codger. Rob ain't NOTHING to be fucked with. And Kanye again, is not in the business of making enemies. Seeing how this could've really turned into a legal circus, West wanted to quickly kill it before it garnered any traction, legally or media-wise. Smart move. The video is pretty innocuous, and I didn't get that West was trying to defame Knievel. Robert's taken care of that all by himself. But you have to have some serious elephant-sized nuts to wish to settle with the likes of 'Evel". And you have to understand what your dealing with.

Only the ability of nuance allows for this heightened level of understanding and ability to negotiate with likes of Knievel. It's not 'kissing ass' either. It's utilizing an advanced and highly developed method of diplomacy, tact, empathy, and honesty that you garner positive results in adverse circumstances such as this. If Kanye had been a kiss-ass, Knievel would've knocked the ungodly shit of West, AND further pursued kicking him all around the courtroom in an attempt to empty his pockets. Ass Kissing is for the weak. Strong prowess for reaching common ground is an intellectual strength. It is a gift. Kanye has it…

Thanks to his parents.

Donda and Ray West opted for divorce when Kanye was three. She then went to Chicago, her only son in tow, and became a career educator and professor, while his father, an ex-Black Panther, became the first African American photojournalist assigned to the Atlanta Journal-Constitution. Through Kanye's developmental years, Donda and Ray worked collaboratively in the upbringing of their only child. They both understood that if their son was to have any shot at an emotionally healthy existence, it would be up to them to work as a team effort, irrespective of their failed union and whatever misgivings were the result of it.

Kanye, in this circumstance, had to have understood early on to accept that this reality was permanent, and was allowed to engage with both parents freely with no condition. And no bias. It is through his parents remarkable sense of priority in this situation I believe Kanye obtained his sense of a '360' view: consider all sides, and move freely within it. Coupled with the fact that both parents were highly educated and never discouraged their son from pursuing any interest(s) he might have had.

This type of support in this circumstance, unfortunately, is the exception rather than the norm. Donda and Ray had it right. Their son is successful because of it . Publicly and privately.

I believe the loss of his mother will have far-reaching implications in the coming months, the likes which we have not seen… But Kanye will continue. Because of his innateness to evaluate, assess, and make decisions based on fact and research. The fact he went into a partial seclusion suggested to me, was a desire to process the loss. A wise move. Creating space for your emotions and thoughts is an indicator to me of someone who understands themselves in honest terms..the undeniable blessing of being nuanced. Rather than shrink from it, or put on a façade, Kanye has decided to deal with it straightforward. In the privacy of his own space. Away from everything. And everyone.

More power to him.

As he slowly starts to return full-board, no doubt changes in his perspective on certain issues will arise. Already, he appears to have a more humbled approach, a more tempered manner. The real test will come when the results of the autopsy/toxicology results emerge, and if malpractice might be the factor in Donda West's premature death. In any event, Kanye has the tools to keep it going. Hopefully, he is not only grateful for the success he has attained, but also fully aware of his gift to see all sides, and to be thoughtful in his decisions. Very few have it, for it takes thought to process quickly and intelligently.

Zealots, pinheads, extremists, excuse-makers, and anyone out there who thinks "being smart" isn't "cool" should fucking pay attention to this. This is how it's done. It's called nuance. Learn it. Be it. Live it. Seeing situations from all perspectives gives the clearest chance of making finite decisions, even at a moments notice. Just ask Kanye. Even when he fucks up, he's usually the first to account for it.

He is the Ultimate Ambassador. A Diplomat. He seems the type to rather have a face-to-face with someone he's got beef with, rather than a fisticuffs. Burning bridges is for those who lack imagination and reasonable negotiating power to 'keep the lanes open' for future 'crossings' .

Maybe 'Ye should tell 'the truth' about this aspect of himself..

After all It ain't 'braggin' is it?

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The New Deal:

2007-11-27T18:16:00.000-08:00

The Golden Girl & The Jigga Man

The Madonna and Jay-Z/Live Nation Deals is Further evidence of a 'Major' Decline

by KC Shoen, CEO

Madonna, to me, does not embody any real substance musically. She is mainstream pop to the fullest, with a slight leniency to the techno/dance and gay music scene. If depth is something you're searching for, don't count on anything resembling ulterior meaning beyond an embellished hyperbole of provocative language and visuals married with simple hooks.

However, Maddy kicks ass in the Boardroom.

Madonna recently signed an insanely lucrative deal with Live Nation for an estimated total of $120 million for 10 Years, relieving herself of being further contracted with Warner Brothers, stating in a press release, "The paradigm in the music business has shifted and as an artist and a business woman, I have to move with that shift. For the first time in my career, the way that my music can reach my fans is unlimited. I've never wanted to think in a limited way and with this new partnership, the possibilities are endless."

Jay-Z has been the embodiment of mainstream hip-hop in full contact with its underground appeal. Unlike Madonna, he has never completely sold out, but is the only MC in Hip Hop history to be in possession of 5 straight platinum albums in a row.

So Sean did one better than Maddy. The Bigga Jigga Man is on the heels of consummating a $150 million deal with Live (April 2008), complete with stock options, co-investments and profit sharing among his multi conglomerate enterprises, including one called "Roc Nation" which will split revenues with the former Clear Channel spin-off. Jay watched The Material Elder get hers, and after the soft retail performance of "American Gangster" he decided it was time for a payday, with $25 million upfront to boot, and to bolt from Def Jam..Full speed. His response when asked about the deal?

“I’ve turned into the Rolling Stones of hip-hop"

Right On.

Live Nation first manifested itself in 2004, as it sited its decision to split with Clear Channel to the SEC in 2005 as to relieve itself of any regularity pitfalls that it would face being part of that company. Having unsuccessfully attempted to commandeer YouTube in relinquishing some live performances it deemed they had rights over earlier in 2007, Live Nation finally won a serious battle of identity branding by putting forth a sweetheart deal for Madonna, and now Jay Z. Yes, they are dirty, filthy money-hungry bastards, and given their rather shoddy history since their inception, it has to be acknowledged…

But, goddammit, I love them!

This groundbreaking acquisition of a highly merchandised, highly visible pop-chart icon of sustained commercial success via high-gloss mediocrity signals the end of the 'majors' in the most significant way. Warner never had a chance to outbid, given the diverse merchandising nature the Live Nation deal supports, and able to deliver on. All they could do is offer an olive branch in a "condolence" letter of sorts , while head execs privately ponder whether suicide is a viable option. Conversely, The Jay-Z deal furthers the demise of a legendary Hip Hop label who has fallen out of touch with the present. Def Jam, who was at the forefront of the burgeoning genre, now sits at the back of the bus, hoping the Artists they prayed upon in the past don't jettison them into nonexistence. First LL, then Jay...

Now..close to nothing but a long quiet walk into that last good night.

Warner's sun is also setting..and soon the boneyard of music industry's past will absorb them.

This is indicative of several things: If you don't move with tide, you eventually drown, and the monolithic approach that has so dominantly retained control in the past seventy years no longer has any semblance of viability in the negotiation process when it comes to the likes of Madonna and Jay Z.

And the only good news for Def Jam is that it's one less 'project' that Kimora Lee Simmons can't screw up....

...as it is already screwed.

This also means that lesser-known acts could get a boost through LiveNation and their complete dominant presence on the internet and live venues. Music will be fresh and new again, and the independent scene which has been bubbling under the surface for the last decade will finally see some daylight.

And the Big 4 will be no more.

Consider this this an advanced eulogy. And a big hurrah!

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2007-11-27T18:07:00.000-08:00

Taxi vs. A&R Select: A Review Of Music-Placement Services

Since I have had the experience of using both services in the past seven years, I wanted to extend some insight for those artists like myself who don't tour frequently, have home-based recording studios, and are trying to stay lucrative between CD releases and promotions by offering their music for licensing in Adverts/Film/T.V., and motion picture placement. I do this quite a bit myself, as it is very helpful during periods when money is quite slim, and its great work, once you secure it.

TAXI A&R Services.

URL: http://www.taxi.com

OVERVIEW

Michael Laskow, a successful music promoter during the 70's and 80's from Los Angeles, decided it was time to establish a "vehicle" for unknown artists to be heard for potential recording contracts and licensing, and is the originator of this type of service. In 1992, he established "Taxi", and converted his business in to a internet-only operation right around 1998. This model proved very attractive, as it is completely "full service": offering professional critiques of your music , as well as listings and opportunities either mailed or e-mailed to you every two weeks, where by you can submit to the opportunities your genre of music is best suited. Recently, they have offered this same service whereby you can submit online using mp3s, instead of the 'burrito' method that was instituted before, where you would 'wrap' your CD/Cassette, along with a song list sheet, and your pre-assigned customer barcode identification and send through the mail.

THE GOOD

Taxi has a vast network of industry professionals associated with the company. Because of its unique status as being the first music placement organization of its type, it does enjoy quite a bit of recognition from the industry establishment as being the place to develop, market, and sign new, undiscovered talent. It has an absolutely clean record with the Better Business Bureau of America, having never been the recipient of legal litigation for business malpractice, or service misrepresentation. It is what it states it is: a means for you to gain potential traction for your art.

Their "Road Rally": an annual industry convention held every November in Los Angeles, is offered free of charge to subscription members, does allow heavy contact and interaction with A&R representatives, world famous musicians and noted songwriters who lend their advice, and their ear to unknown artists. It is a two-day event, where you can submit your music for open critique by a selected panel of recording label representatives in front of an audience of potentially thousands of your contemporaries. It is also a great place to connect with other fledgling labels, producers, and other like-minded groups.

THE BAD

'Taxi' is a business. And a business of generating revenue for itself. While this is not exactly startling, or even unethical, it does become its own hindrance. The company has only able to really aid those who make mainstream music as their primary style, and lacks the imagination to work with those who are experimental or cross-genre. Taxi lends more preferential favor to those whose music is formulaic (i.e, a repetitive "hook", simplified lyrical structure, and common major scale chord arrangement and instrumentation), and is less inclined to deal with anything outside that level of commercial marketability.

Another example of this is their fees. On top of the annual membership fee (currently at $299.00 US), Taxi charges a $5.00 per song submission fee, which makes no economical sense. Taxi's entire service is predicated in the submissions format, and being the most popular, why the fuck charge $5.00 on top of the annual fee, when that's really all you do? Artists are cash starved as it is, why make it even less appealing? This is a subtle form of making the process seem more "official" and important, as they explain these fees cover screening and mailing costs, which also makes no sense, as you still have to provide the media (CD/Cassette/mp3), and pay for postage (if you mail). They contend that because they take no percentage of what ever you garner from your submissions, that this is somehow justifiable. However, it's not when only 1% of your artist based clientele ever make any substantial money from the submissions in the first place.

The critiques one receives every time music is submitted for consideration can be irritating, even baseless. Many times when a band or artist submit for potential opportunity, they not really interested in the opinion offered by Taxi, and you haven't a real choice but to take it. And even though you can opt just to receive the feedback, it often has the look of being forced, insincere, even inaccurate. For example: "Your guitar play and chord transition are very good, but I would suggest more lyrical simplicity, as to allow for better rhythmic syncopation of the piece" is a good critique. "Sounds good, but no hook, nothing to sing to. Sorry" is not. Both of these examples are what I received as a member from 2000-2001

The "Road Rally" has the tendency to be an artist bashing purely for the enjoyment of the A&R Panel that is paid to participate by Taxi. In November 2000 when I attended, I received in the mail a standard form letter generated by Michael Laskow, stating in part "prepare for some brutal honesty. Most A&R reps are very jaded. It's nothing personal, that's part of how this business works. Don't be offended by their input if it's less than favorable". I felt that was fair enough, as all I wanted was a FAIR assessment anyway. During the last event of the first day, it was time for the live panel review. During the course of this rather long segment, the panel repeatedly insulted every third song they heard, and at one point crassly blasted a country song with such ire, using language such as "fucking trailer park shit", and responding with such insults as "dumbass, embarrassing music". Many on the panel were so busy laughing as they uttered these barbs, that the actual songwriter who composed the piece quietly got up, lifted his hat, wiped his middle-aged balding head, and walked out, tears in his eyes.

The song was bad, indeed, and one does have to have some real inner-strength to be in this business, but when the lines of constructive criticism suddenly blur into senseless, personal attacks for the sake of self-amusement, then the process of critiquing loses serious legitimacy. It turns into a carnival; a form of raunchy entertainment at the expense of the artists themselves. The "Road Rally" is nothing more than a circus. And your potentially going to get roasted to the delight of the panel.

Michael Laskow's cheap attempt at comedy relief during the Q & A session of the panel, where the artists ask specific industry questions to the A&R Reps., is also intrusive and repugnant Constantly, he cut off people in mid-questioning with acidic barbs and comments about them, trying to entertain and keep it loose. When it came my turn to ask John Lind (A&R Hollywood Records) about why the labels were veering away from "organic" (live instrument) music, Michael interrupted me , saying "Oh, he means why are you not picking HIS music!". At that point, I snatched the mic from Mr. Laskow, and finished my question, determined to get it answered, unobstructed. I had to force the issue and complete the comment. Michael, to this day, has no idea how he came to getting his ass kicked in front of 2, 000 plus people that day. It should not have been like that. Period.

These two incidences lead me to believe that the professional intent of the "Road Rally" is more akin to 'hazing', than to development and licensing. It closely resembles more a fraternity initiation than a true gathering of music's best and brightest.

And lastly, Taxi's other bad trait is it overly-comfortable relationship with the Major Labels. They are not progressive enough to start a meaningful diversification of services to the artist, and driving out needless sub-charges because their business model does not possess fluidity for change. When a service company intends to keep its relationship with corporate monoliths, it can not institute any alteration of its practices to proactively engage in new opportunity for its clientele. In plain English, Taxi can't trail away from what it has been doing, because it doesn't wish to drive away potential earnings it gathers from the Majors via commercial artists and bands they shop. There is no room for truely "risky" music to have any play within their system.

I would only recommend Taxi for those who make really non-threatening, genre-specific, and formulaic commercial music. Avant Guard, experimental, or multi-/cross-genre need not apply.

Overall Grade (out of 10 possible): 5

A&R Select

URL:http://www.arselect.com

OVERVIEW

Founded by entrepreneur and music enthusiast Mike Burns, A&R SELECT opened its doors in January 2006. Although it is the newest music placement company on the block, A&R Select has garnered notoriety from the Hollywood-hip set due to its youthful vibe, and new business applications. Apart from just being just another music placement entity, they run the gambit of services from CD Design, professional recording assistance (studio and engineer provided), press release services, website design, marketing, and music development. Clientele can set up their own profile page, upload their original music and bio, and submit music for placement via the "deal sheet" that is updated weekly in the "my songs" portion of the site. Upon joining, you are required to mail in a finished CD (full length or Maxi Single), and you are provided a HTML virtual player that allows you to transfer to other sites such as Myspace, Tagworld, and any number of blog/music sites you possess. The site even allows you to sell your music as mp3 downloads to your fan base. All services are optional, and you are allowed to pick a price "package" best suited to your needs.

THE GOOD

A&R Select requires you to register your music website URL for prescreening, alongside your personal information. And, unlike Taxi, who will take anyone with a demo and an ample wallet, they actually predetermine whether you are suitable for access to their services. If they see you as fit to join, they notify you by phone or e-mail (sometimes both), and you can then select the program you feel comfortable with. A&R Select will work with you in arranging payment installments ( 2 payment installments at the most), if you not able to pay in one full amount. They are selective, but very open to avant gard, multi-/-cross genre, and experimental as well as mainstream music.

Their price ranges from $200 US for "submissions only" to the "full package" at $499 US which includes: One on One A&R Music Consultations (via Phone), Artist Image/Branding Consultations (via Phone and email), Publicity Campaigns, and Mobile Marketing Tools. By not offering a "one size fits all" approach, you have the election as to what services you wish to utilize. For the submissions package, there is no "submission fee." You can submit endlessly for one full year. And the process is completely on-line and user-friendly. In the recent months since I've joined, I have seen drastic improvements made to their website and services. The usability, which was a bit shaky at first, has a more consistent performance now, and is easier to navigate. Ratio of submissions verses forwards is about 10%, much higher than Taxi's 1%. Your odds are a bit greater at getting a paying licensing project for your music.

A&R is highly experimental and forward thinking. Recently, they launched their own internet radio program "A&R Radio", viewable from the Operator 11 video site as a live webcast which began in August 2007. The topics are always focused on the industry itself, and feature unknown artists who are making waves as independents, as well as advice from industry insiders, former A&R reps, and CEOs. Their hospitable nature and inviting persona is the product of Mike Burns himself, a firm believer in being independent and successful at the same time. Mike is also not solely allied with the Major Labels, which means he and his organization have freedom of movement, and can adjust quickly to the changing landscape of the industry to the advantage of both his company, and clientele alike. It also allows A&R to get creative in terms of seeking new sources for future licensing opportunities, as their circle is allowed to expand. They have unlimited potential to be the "flagship" in the New Digital era for the independent artist and label.

THE BAD

As with any young business, there are always 'growing pains', especially when your expanding at the rate that A&R Select is. From becoming a virtual unknown, to being a very recognizable (and media-covered) entity inside of their short two-year existence, one has to keep this bit of criticism in context.

The company does a take a percentage cut of paid licensing deals from artists. At last glance, I believe it's around 10% on average. Although they have a higher success ratio in this department that smashes Taxi, the mere fact this percentage is drawn out leaves me a little cold. To try to off-set this, A&R does offer licensing agreements with artists who have had previous success obtaining deals, in which they waive the fee altogether, but they need to decide whether to go "all upfront" OR percentage, and not do both. This can create slight animosity with young acts who don't fully understand their dynamic at this time (Nov. 2007), or don't have working knowledge about the industry.

The clientele services show great inconsistency from handling regular queries to updating the status of a submission. I've had it where I have received great service delivered with great patience and good rapport to sheer contempt and non-responsiveness, and it varies from to person to person (via phone). The inconsistency also carries through when a submission from the "deal sheet" is given, and an automatic e-mailed response is generated verifying the submission. This is good, however, it doesn't always occur, and can make it uneasy when your not sure they got the submission in the first place. And as mentioned before, you never know what your going to get as a response by phoning in. I attribute this, in large part, with A&R being currently understaffed. Taxi has 200 screeners, so their response is much more consistent. The staff that A&R currently employs is not even half that. They need more people, and a dedicated IT department to work out kinks that arise in their webserver.

The submission opportunities are about a third of what Taxi offers, but their success ratio is still higher. They are already getting higher paying licensing opportunities, and are currently making updates closer than the one week interval. Some recent changes (Nov. 2007) should yield a greater variety of opportunity in the coming months.

Overall Grade (out of 10 possible): 8

P.N.G.The Music & The Bio

2007-09-27T16:57:00.001-07:00

A One Man Arsenal:

The Case FOR "Genre Scizophrenia"

When asked two years ago by a friend in Hollywood why he changed his name to three letters..and why he dosen’t use his face to adorn the cover of his C.D., P.N.G. responded, “ Because it’s not about who I am in the physical. It’s about the music. Let the music define who I am. Let music be my identity. It’s all they need to ‘see’”.

‘The music’ has become the location for experimentalism and creating material that sounds unlike anything else, both lyrically reflective of the times we live in as well as having a perceptive and expressive style that is deep, real, and based on these experiences. Since the age of 15, P.N.G. has been more focused on strong content and meaningful conveyance through concepts, both concrete and abstract. Having been influenced by the likes of Pink Floyd, Prince, KRS-1, and Funkadelic. Having begun his odyssey as a freestyle rapper, he decided to be his own ‘band’..learning four instruments, developing vocals, and later acquiring an audio engineering background. Over time, PNG became fearless to tackle subjects considered too controversial and sacred to lend an opinion.

P.N.G.s 2006 debut EP "The Darkest August: Life inside The Myst" questioned the current American cultural derision using Hurricane Katrina and 9/11 as the backdrop for its concept, digging further down into the questions of our own humanity as the most affluent nation on the planet. The racism, the violence, the ignorance; this "myst" he perceived that we are ALL responsible for creating and fostering as a nation: it asks more questions than it answers.

Having received good reviews for the EP, but unable to obtain exposure for the six-song EP on a grander scale, P.N.G. decided to establish his own label, ShoEnTeL Music which debuted in June 2007, and begin production on “Programmed Response”, a much more well-rounded and genre-diverse album than the previous. “I Am The Air”, a very direct, classic rock-sounding tune is currently complete. The song embodies a catharsis between what is “elevation” in the material world as opposed to what it means in the spiritual. “Farewell 2 My Nation”, a politically-driven rap track about current controversies, takes a stab at a more sarcastic view of them, yet being very informative at the same time. What the legendary KRS-1 used to call “Edu-Tainment”.

The goal is not just to offer another tired indie product, but sound that truly embraces all genres and styles, beyond hype and commercialism. P.N.G….It’s about the music. It’s about time. “Programmed Response” is due Spring 2008.

One Mans Trash

2007-05-12T03:10:00.000-07:00

Feedback for an artist is critical. That's obvious. Any Band/Singer etc. that is not gauging what they are creating in an honest way; soliciting crucial feedback to the market they are trying to 'shop their wares' to is not living in real time. Constructive criticism can build upon, and even deepen your ability to create great art, because objectivity about your muse is next to impossible. What I have discovered in this odyssey through the digital domain is that in the absence of familiarity as far as promoting music, mistakes are often made via marketing/promoting to the 'wrong' audience; promoting more 'high minded' material to a group that maybe prefers something a little 'lighter',etc. This sort of stumbling often gets alot of bands/promoters...even labels into real adversity very quickly.
So when anyone takes the time to reach back for a comment or two about any of the artists I represent, I always appreciate it..even if its less than favourable. I've been in this quagmire of a business enough to understand that not all audiences will be "in love "with you. Some will think your art is downright shit. And will tell you so. Thus is the nature of art, and the nature of subjectivity..and well understood.
The other aspect of this, is a more fruitless, more indignant angle. Those who, for whatever their idiosyncrasies motivate them to such disdainful ends, have to try to 'stick it to you' with the perfunctory "You Suck!" ,"Your Shit!", "fuck your music..FUCK YOU!". Perhaps its borne from some psychological pre-disposition to displace anger. Maybe some these verbally inept and brutish bastards had Mommy beat them one too many times with the family spatula...Others might be that jobless twenty-thirty something-year-old college dropout know-it-all asshole still masturbating to Internet porn in the downstairs den while Dad is at work at the Mill. I don't know..maybe many were that contemptuous four-eyed little freak; undersized in his formative years and was reminded of his insignificance by the daily barrage of ass-beatings in school by the more physically gifted and stronger bullies who not only took his lunch money, destroyed his calculus notes, but departed with whatever sense of self dignity that was bestowed him.
The Internet age, when first introduced as the "world wide web" in 1994, was intended to bring together a global community . Make the world a far less isolated, smaller, accessible place . A Cyber-community. The age actually did the opposite. Our collective cultures are more isolated. "dropping by for a visit" has been replaced with "I.M. Me on my AIM!" And the Internet has spawned a world of 'keyboard gangstas': those who hide behind distance and anonymity just to spew trash at the world. These are the erudite peoples I want nothing to do with. Constructive thought, let alone criticism, is an oxymoron at best with this group.
There is alot of respect I have for those who "tell it like it is": giving examples, stating their case, exhibiting knowledge and history of the subject their critiquing. Being receptive to disagreement, and doing it with class. Even agreeing to disagree. Sure, there might be "your stuff is SHIT,.." but is always followed with "..and here's why I think so." Just dropping "your music sucks"' as a critique, and sarcastically ending the draconian and impish phrase with a cheaply condescending "..sorry" doesn't qualify. All this really does is communicate inadvertently what a pernicious, sniveling idiot you really are.

And that's not a complaint, that's just what it is.

One mans trash is indeed another's treasure. Same in music. I do appreciate the nice comments for P.N.G...and I appreciate the criticism (what little I've has gotten) that I've received. I not so much affected by those who wish to blow out another mans candle, but simply to offer balance. It's been my experience that those who are the most vile and vehement against someone they do not know, are usually the ones who can not 'do' themselves. And as for their little bits of 'treasure' they bestow on me, I'm more than happy to roundfile it in my 'trash' can.

The Scene Has Changed

2007-05-06T22:49:00.000-07:00

Viewing and musing over Billboard charts, it struck me how many artist in the current Top 40 (Pop, Rock, and R&B) are actually terrible. This is not to say that their efforts or talent are any more or less than my own...but the the absolute truth is that music that now inhabits the digital frontier of the 21st century is mostly disposable. The current round of pre-fab ultra-lite pre-assigned chord pre-programmed percussive noise that has lodged itself in the mainstream is just...well...shitty.

The current stasis of the recording biggies (Warner, EMI, Virgin) are just now starting to come to the realisation that their existence and methodology have began to lose any valid sense of relevance..not only because the mediums in which the general public purchases their music has stemmed away from the traditional CD (downloaded whole-album mp3s actually surpassed plastic sales for the first time in 2006), but the fact that many idependent artists have began to control and effect their own destinies by virtue of creating their own distribution and advertising for very little to no cost. No longer is it adventagous to secure a recording contract with a monolithic label...nor is it really that needful. As an independent, I can say with great confidence that I would quickly turn down a recording offer from ANY label...because I have learned that I can 'make' it alone. And my revenue stream would allow far MORE return, more rapidly. I would not have to incur the blasphemous payback ratios vs. recording investment even mainstream performers tolerate to this day. Nor do I have to wrestle with being stiffed on royalties.

the real crux of my quandary (and this blog), is this...why is the general public still putting money down on garbage music, and is there ANYONE out there in any great number, still willing to put their money where their mouth is as far as investing in indie talent? And if there is anyone in the biosphere still willing to 'show up', and take a risk in purchasing new music from an artist/band they have heard little of, even if they discovered they liked it, be it me or anyone else? Or do you still require to have it presented to you in a commercially familiar fashion? In other words .. do you still give a shit about good music?