Feminism & Being Wrong

It is always nice to be proven right.

One of my three feminist lecturers at Flinders University, called Tina Dolgopol, gave me a less than delightful grade for an essay in a topic called International Human Rights basically read through the prism that is the United Nation’s Convention on the Elimination of Discrimination Against Women (CEDAW).

I wrote a large essay, with a total of 82 references: espousing the embedded patriarchal values of South African, and how large rape is. Essentially I used all forms of evidence: statistics, research, journals and academic textbooks to put forward some very strong arguments for my proposition.

I then criticised South Africa for having a so called progressive Constitution and failing to address the structural factors surrounding these issues. I always got very high grades for Criminology and Sociology.

After doing some more research now: I will say to Tina Dolgopol – you were wrong. You and your feminist buddies at Adelaide University, and within Flinders have done more damage than good by discrediting your own camp.

Clearly the point I missed was South Africa’s ANC and their Marxist leanings. Clearly propping up you stupid ideology and feminist fascism means more to you than being a good lecturer.

But mind you, not being a lawyer I never understood how you or Mary Heath got your jobs teaching law. I am relieved.

Feminism in Academia

 

On Electronic[?] Music and The Rest

I put a question mark behind electronic because it would appear not even their own artists can agree on what constitutes electronic music. The above post was put on FaceBook by a well known South African DJ I went to primary school with, and whilst I respect people’s rights to choose their own aesthetics and careers, I would argue with the above post as a metalhead in numerous ways, essentially on what is based on anecdotal evidence I have gleaned over the years, and what would seem to be the case to me.

I have a limited amount of compositional knowledge, I am a self acknowledged “metal elitist”, but I have played classical piano, flute and now I play guitar, program my own drums, do my mixing and produce my own music in the vein of my heroes.

To me as someone who writes music I look for something more in what I listen to: namely things such as technical accomplishment (use of odd time signatures and virtuosity in relation to chosen instruments, and a good comprehension of complex song structures). To name a few people in this vein that I listen to:

• Steven Vai
• Joe Satriani
• John Petrucci / Dream Theater
• Vindsval of Blut Aus Nord
• Ihsahn of Emperor
• Alexi Laiho of Children of Bodom

If one examines a genre such as technical-death metal (“tech-death”) one finds elaborate use is dissonant intervals (such as those found in the diminished scales, symmetrical scales – and so on), an emphasis on fast playing – tremolo picking, arpeggios and so on.

If one examines progressive metal: you will find with bands such as Meshuggah extensive use of polyrhythms and polymeter, well a lot of the bands who derived their sound from Meshuggah have been labelled “math-metal” – and I think this conveys the complexity of the theory deployed by these bands.

Emperor and Dimmu-Borgir, both second wave black metal bands use compositional and playing techniques derived from classical music. Blut Aus Nord are a world unto themselves. I translated a guitar tab by Blut Aus Nord in to a MIDI drum tab, and imported it in to my Digital Audio Workstation and discovered there were in excess of twenty time-signature changes, and probably as many tempo changes.

I don’t speak much on blues-based metal – such as that found in the USA as I am not too much of a fan of the new wave of US metal – bar say – Machine Head, and then some older school stuff I liked such as Fear Factory, Pantera – you get the idea.

I studied the philosophy of aesthetics at University: in particular the “subjective standard of taste” as defined by Hume and Kant. To paraphrase Humean perspectives: to more simple an aesthetic is, the more “popular” or accessible it is to the masses. The more technical the aesthetic becomes: the more education or experience with that style is needed to “decode” it, and hence one can normally find a trend with in aesthetics where by the more complex an aesthetic is, the less accessible it is. While this applies to all genres of music (as Metallica is metal) there will always be exceptions. But despite the status of The Beatles White Album, one cannot argue that the song “Love Me Do” is a piece of virtuosity.

My argument with dance music from the 1970s onwards: is that essentially is components of structure and audience require a consistent, “dance”-able beat which makes it accessible to many people who are there to do just that. The assertion that there is no constant BPM (which is what I am pretty sure the definition of the modern dance/EDM – whatever – DJ is – “beat-mapping”) in some dance music may be correct: but it would be a mainstay of most of the songs in the genre.

This type of music is repetitive, the structures are remarkably consistent. The scale/melody is very consistent: this is evidenced by the use of the terms “bass-drop”, “buildup” and so on. Now these terms exist in all forms of music – in other works from the compositional perspective “to build tension / and release”.

But where one finds variation in between tracks using the techniques, the very fact that electronic dance DJ’s have to beat-match – and get berated for messing this process up is the evidence one requires to debunk the quote at the start of this article.

No you will argue that certain forms of metal create a “head-bang” motion in the crowds: these tend to be the simpler bands who essentially do what DJ’s do, but in another genre: Metallica being a good example. The same could be said for country music. And so on.

One is looking at a genre that grew specifically out of a desire to be homogenous: and had a massive influence on popular music’s sound from the late 1990s onwards. It lacks a desire to push the boundaries, and as a result music is becoming more homogenised.

The reputation of electronic dancce music, how it desires to label itself as “underground” or “different” or for adults, has also created to the drug culture which it resides in. I would argue in order to combat the boredom, and to enhance the “samples” and electronic sounds – one would have to be “high” to actually take a consistent beat for 8 hours. Try being drunk and listening to this stuff, you’d leave after twenty minutes.

So one could posit the argument cited at the top of this argument: but I would argue that this is pushing against the tidal wave of evidence that is obvious on the face of it. I do not see the “virtuosity” in using an Ableton press button board of samples to “create” music, you are making in more homogenous and enabling people who probably should be taking some form of music lessons – create music, all the while thinking that due to this homogenisation and equipment destroys the need to study music theory (the above quote was made by Daedalus – ironically a music graduate of high caliber – but an exception to the rule).

I don’t see how a DJ is going to “improve their musical credibility” by putting such arguments forward. Sampling by its very nature – is plagiarism. Repetition at the rate present in this genre – and pop music – means one can clearly make the inference that it is written to be simple, and be related to by fairly mindless crowds – who essentially want to hear the same stuff week in, week out. People who lack the ability to push themselves, and do not want to.

The “old vanguard of rock”? Well – I don’t know who exactly he is referring to with that statement: but I loathe this type of genre with a passion. Look at drummers such as George Kollias, Derek Roddy, Terry Bozzio, Mike Mangini and even Dave McClain – and you find absolute masters of their instruments, years of practice and study. Look at Steve Vai and how he literally becomes a conduit of his music.

I just cannot agree there is much more to electronic music: I just don’t see it, and even if there was more to it, I’d argue these bands constitute less than 5% of the genre in total – regardless of what the fans say. I am always open to new ideas and proof, but I just can’t see it.

I have the same problem with metal/rock: but at least a degree of musicianship is required to play in a band with more than one person, and some knowledge of the instrument – so in reality – we are comparing chalk and cheese.

If they really want credibility: they are going to need to turn from keeping crowds happy, to attempting to write music the like of Tool’s 46 & 2, but a bunch of people who want to munch on drugs and dance for 24 hours are not really going to enjoy that, now are they?

Old Boys Networks and Self-Worth

Much like those who post blogs in searching of self-pity, I tend to look at old boys networks, old boys clubs in a similar vein, an attempted interpellation of the past, in order to validate oneself in the present to boost one’s own self-image for the future.

I look at the old boys network of the schools I went to: and I have to wonder how one is so attached to a piece of the past, even to reify it every year with rituals such as rugby matches, dinners and so on. On getting jobs through old boys networks: I understand the ease with which one can move in to a job in this manner, but I would hate to have to wonder whether I could have done it myself, and ultimately does that not affect one’s self-worth detrimentally in the future – if not on the death-bed?

I have had a pretty bad couple of years despite Graduating from University – struggling to get work, having to re-assess my position in life at this point. But this is all me, absolutely all me. I have some regrets, but more importantly my decisions have led to my life experiences, my wealth of knowledge and ultimately who I am now.

I’d rather just have it that way. I mean others would disagree, but I have always been a sucker for challenges, and I love to win out. If you had told my 18 year old self – this is the way its going to go, I would have laughed. Not for what I have not done, but for everything I have managed to do bearing in mind the effort it took to get here, and I am so proud looking back. Sure, its not a “normal” life progression and what not, but what I have learnt about myself in the process – is almost priceless – and I think that is what matters.

Maybe I am with Nietzsche on this one: maybe one has to just push oneself so far out of their comfort zone that you start realising what you are capable of. I am not saying contextual, cultural and personal knowledge is not important – but when they become a dead weight one has to wonder.

I think (based on my criminological/cultural/philosophical readings) that to not push oneself – or as Nietzsche said to “suffer”, and to grow, and to take the easy way out blights humanity, and possibly creates bubbles in which people bask and exist and do not want to test themselves.

There is a lot of good and bad in the world, but to not experience it, to relish the bubble, the cushioned existence – I just cannot agree with. I think these “networks”, whatever they are and mean to others, are a part of the problem. But then again – maybe this is just me, lauding my own perspectives, but I have observed elements of truth in these statements during the course of my existence.

Vladimir, The Dark Elf – Hard Work Pays Off

I posted another blog entry on making music with friends which refers back to this one. So if you haven’t read that then maybe read it first – it is always nice to get unexpected surprises when things do not look so good.

After being disheartened in relation to working with friends on certain band projects, I was once again going on as a solo-project. I had posted numerous tracks on to Soundcloud, but I knew deep down I had a lot of work to do on technique and structures.

However I was finding after listening to a couple of my songs (not finished) that I was almost not recognising the music as my own. I remembered writing it, I knew exactly what was going on: but in the back of my head I was thinking “how to make this better?”, “where am I going to find a vocalist?”, “will I ever reach my musical goals?” (I study programming, I am qualified as a Lawyer – so my work will no doubt come first).

I woke up one morning and checked my FaceBook, Soundcloud and emails. My Soundcloud had a notification (I check those first) “You have been followed by The Dark Elf”, cool – a couple of other people have followed me. Nothing to really worry about. I’ll check his page in a second: I have a message notification too. I check the messages: a message from the Dark Elf, alright – what does this say? Normally a contrite compliment on one aspect of a song they heard, nothing more.

“Hi there!
Maybe I am crazy, but I hear a lot of potential in your music…
Well, back to business – I am a sound producer. Let me know if I can help ya )))”

I have had messages from social media marketers, offering paid services. I have had the same offers from Producers. So my natural inclination is to respond – as to being a broke student studying programming, I can’t pay for Production (and in my head – “I ain’t that good – come on! Please… besides, I genuinely can’t afford it, would be nice to hear something of mine done well, but no…”).

So I wrote back to that effect. I was very appreciative of the kind words: I genuinely was. But I said I cannot afford production and so on. I had looked at his Soundcloud page, there were a lot of tracks on there, good ones too, in a lot of styles, really impressive.

I got a message back saying essentially: no – how about we work on one song, free – beginning to end, over six months. You can learn production skills, and get some experience in the production side, and I get to get the best out of you, as at least you are trying to do something “different”. Much to my surprise.

Even at this point, I had a British guy approach me who was in to the same band I was, well one of my favourite bands – Blut Aus Nord, he wanted to “collaborate”, and also seemed quite serious about it. DropBox folders were made, ideas passed backwards and forwards – but basically six months later nothing has happened. So in the back of my mind I was thinking – maybe this is the case again.

No. It wasn’t.

I was up late as my correspondence course for programming in based in California, I am up late due to being in Australia. Vlad and I moved the conversation from Soundcloud to FaceBook, as the messages were easier to “chat by”. On FaceBook Vlad requested I add him on Skype, and we have a chat. I have had a similar conversation with one of the few people I kept on my FaceBook profile, Harrison Bobby Fox – an eight string player from Nashville, USA – so I was up for a conversation – out of interest if anything.

I warned him I was from South Africa, via New Zealand and I had left quite young, so my accent was messed up, so if I need to speak slower – just tell me. The first thing he says on Skype in “… my God, your accent is f***ed up!”, I was laughing straight away.

He pointed me to his band work in amongst the other tracks on Soundcloud he had produced, Odsahe, and I could hear straight away that he was an Emperor fan. He confirmed that: and to this point in time, we have had conversations on direction for the track. He has taught me a lot about using scales to make riffs out of – advice that worked immediately upon application to my methods already.

In short – at this point: I could not have asked for anything better. I have my guitar-friend for theory and guitar purchase advice. Now I have had advice on creating riffs, from a producer. Life is amazing like that. A shot in the arm when I needed it most. I can’t even explain the Jungian synchronicity at work here.

Please feel free to check out his page. He does good work. And he is a good guy.

Making Music with Friends

Sounds like a good idea doesn’t it? Your friend plays some guitar, maybe two or three of them. Some have even been involved in making their own music, maybe a little bit of music production and playing live.

You learned some tricks from one such as trying to program drums, how to use a Digital Audio Workstation. You even learn some microphone tricks. You have a few jam sessions, go through three band names, a YouTube video which garners 500+ views, due to some good tags and a well-made video. Your confidence is bolstered.

You haven’t been playing too long, but you have been working very hard on learning, probably too much at once, but you buy books, you read a lot, practice – and you are persistent. You are confident based on you studies, that you can teach yourself to a point: the rest is between a friend who is a guitar teacher of 27+ years, played in to very prominent local bands, and is still playing in those bands.

This project falls to pieces. A lack of commitment. Drinking on weekends, games and just life tends to get in the way. You find there is a preference for odd lyrics and music tastes (albeit you are in to an obscure genre to begin with). The direction this first project takes: is possibly more simple than one would like. You are certain that there is more to composition and song arrangement than your friend does. It is not all “do-able” by ear. However – this friend you are close to, can accept theoretical differences in approach (a few drunken arguments – but never anything serious – just absolute acceptance of differing opinions). You still approach that person for recording/drum-programming – and general musical production advice, and aesthetic opinions on mutually accepted bands. So no issues there. Just a learning curve, a few good tracks, and a tonne of good memories, and a friend for life.

Eventually the friend in this first project moves to another State, and you are essentially left to your own devices again, so you keep playing, keep composing and you persist. You get better and better over time, start sharing music on Soundcloud, Youtube and even FaceBook. You get some response but you know deep down that you probably need to work on compositional skills more, as you are aware of your weaknesses.

Then you discover an old friend from you homeland is in to making music. You have purchased new equipment – such as a USB Interface and digital amp-sims (which is not optimal but better than having nothing – or very cheap pedals and amplifier). Their taste is slightly more classic than yours, but there is a preference for melody – which forms part of your music. You start a project, and even offer to bring in a friend of theirs – as the more the merrier. You compose music for this project, even in two different styles.

You share your knowledge, make tutorial videos, post them on FaceBook (guitar tabs) and videos (on Youtube). You have numerous Skype conversations regarding the music. And – yet you have this deep down sense of deja-vu.

Eventually the friend of a friend who is brought in: just wants to try and super-glue a riff (a classically picked, basic minor chord riff – with no idea as to harmonic rules) on to what is essentially a death-metal half-song, written in Drop C and played on a very heavy amp simulation, over Superior Drummer, and you very kindly explain this cannot work. The first friend says nothing – which is a surprise: as that friend agreed with the assessment.

You have a logo which you paid a good friend in graphic design to make (a bottle of vodka – but – you are ongoing friends). You retain the rights to the high-quality pictures. All they ask is that the logo is not altered, and that any future alterations be done by them. Essentially – they wish to retain creative control. Fair enough. You get a damn cool logo, in your genre. They get to maintain control over their work – which was in graphic design terms, done for free – I am in total agreement.

You wake up one morning, and the friend of a friend who tried to super-glue a riff on to your song, has taken the logo, and super-glued it on to a Metallica “Ride the Lightning”/”Black” – snake type thing. Within 15 minutes you have an inbox message from the graphic designer essentially asking, in a very nice way: “What is going on we had a deal? And please remove it, as you are the Admin for your band page (as is the friend, and friend of friend)”.

You have a very calm conversation to the friend, explain the situation. They speak to friend of friend, and all is OK. Based on that conversation: you end up having a conversation with friend of friend about USB Interfaces versus a standalone Unit – a digital 4 track (which you own at that point, have used for four years – but now switched to the USB Interface). Friend of friend is about to spend the same as the USB Interface on a rubbish unit. But do they listen? No. Next they say they have no money for a Unit. But you have money for a motorbike, and numerous concerts? OK.

Friend from old keeps talking about music. You agree that it is better to split the projects. Friend from old tells you – friend of friend – thinks you are too in to your genre. OK. I spend 7 years practicing, learning and reading – even buying books on composition, and absorbing information and feedback from numerous sources. Posting stuff online, even experimenting with the social media (my personal FaceBook account at one point had in excess of 2000 “friends” – most of which I removed later on), and all of a sudden – because I have honed the techniques, sound – and theory, even drum programming skills and song structures to create what has got people giving good feedback about – I am too in to genre x. OK.

Then you get on FaceBook to find – that friend of old and friend have started not one, but two projects, and not even invited you too “Like” it. They have invited your girlfriend – which is how you see it (“Oh, look, what has she gone and Liked now?” Ohhhh… OK – check for Invite – none). Funnily enough they using the Metallica hybrid logo for one, lol.

There are a couple of tracks on these band pages. But luckily, it is the same stuff they (friend of old mainly) have been playing for years. Friend of friend starts insulting one (in jest – but – the truth in jest type of thing) for your guitar choice, and style, and essentially your taste in music. You get annoyed but remind them they could not play a compound time signature if it was smashing their head in to the ground with its own hands.

Friend of old keeps talking, procrastinating – and eventually you get fed-up. You remove them completely from your band page – and continue on solo. Why bother?

Lesson learned. If you are going to play music with other people. Make sure (1) they are not posers, and (2) they actually care as to what you want to play. Basically like many things in life. Friends are friends, and that is that.

I honestly believe now I was merely being tapped for information. Deep down: my heart says, when I learn something new, or have a breakthrough, I should tell friend of old. But then I think “Why? So he can just use it for himself, and take advantage of all the effort I have put in?”, so I suppose in retrospect, it has altered my opinion of the person. You have time to post dumb stuff on FaceBook merely minutes in an hour apart, but you can’t give feedback”? And so on.

Don’t do it. Join a band, or at least work with someone who cares and in interested. Don’t buy excuses, if they care they will make time. You are probably better off working alone – than having a distraction.

I cannot work with people due to the extremity of my music taste – and my location: a tiny town where there isn’t much of anything, but when I get to a larger city, I will seek out others who care, and actually want to compose.

In the meantime: karma sent me a good gift, Vladimir, the Dark Elf – Russian Metal Producer – but that is a story, for another entry.

A song, for interest, for those inclined.

https://soundcloud.com/ereignis_011/the-philosophy-of-pessimism