Category Archives: CalArts (California Institute of the Arts)

no airs of no normalcy round ‘ea

it’s interesting, being an individual who

1. didn’t really understand a lot of normalcy as a child.
2. still doesn’t.
3. wouldn’t and doesn’t choose said normalcy when given the choice.
4. didn’t and doesn’t feel the system was designed with him in mind.
5. doesn’t feel obligated in any way to present, TO ANYONE, ANY kind of AIR or APPEARANCE OF NORMALCY.

Wo, didn’t realize I was kinda a drill-sergeant

wo… weird…
thought I just had:

when it comes to MY teaching, I just thought almost instantly of many examples where, when “I” teach, the following notion is true:

“It’s not my job to make you feel good.
It Is my job to make you do what you DO good (being play music in my case.)”

(you can argue that there is nothing too wrong about making students feel good, indeed.)   just saying.

more creative business people, yes, that

is it me, or are a great many

business people and such


that’s not really a question at all.
it’s my opinion.

it seems to me that very often, all such people care about is “mindlessly, UNCREATIVELY and UNCRITICALLY
COPYING what has come before, which in it’s original form was probably

invented by

1. a creative
2. risk-taking person.

Attachment leads to Jealousy.
The Shadow of Greed, That is…”

-Master Yoda.

attachment to perfection, to what has come before.

do not be that way.


take fucking risks.
fail fucking miserably.
only them might you fucking fly.

(I didn’t mean to give offense in this post, I simply was a bit resentful when I wrote it.  I simply wish businesspersons were in general more creative, and no, it wouldn’t be too bad if creative persons (like me) were more business saavy, somehow (sp.)

Oh, and they shouldn’t be so unimaginative and conformist and fearful and mundane.  they should take far more chances and such. Basically, what I already said:)


some music theory of the rhythmic variety

somehow tonight while playing music with some friends I managed to find myself playing

7 notes to the dotted quarter note, in 5/4.
meaning, when the guy playing in 5/4 (it was actually 5/16 (4 bars) against quarter notes (five of them of course)
meaning I played 14 notes every three quarter notes, so

YEAH, when the guy playing in 5/4 had played 3 bars, 15 quarter notes, 60 16th notes…
I had played 70 notes in the same space.

SIX AGAINST SEVEN, i.e, 3 against 3 and a half

fuck yeah

don’t this, don’t that, DO THIS

don’t be cynical.
don’t be realistic, god no.
Be Awesome, just Be Awesome.

find a way, don’t let norms and practicality get you down.
the hell with it.
fucking find a way.

don’t be cycnical, be awesome instead.  you don’t owe cynics nothin’.  you owe awesome things attempts to be awesome.  you owe yourself this.

Just Be Awesome.

sometimes I like the raw material…

sometimes I happen to like the raw materials of something (jazz, funk, my favorite harmonies of choice, etc.)

so in those cases, I don’t “mind” if what is “done with” them, FORM-wise, is TYPICAL, cause I like the material that is actually being used. (think of a guy who likes meatloaf (not me) who doesn’t care in what form meatloaf is presented in, nor how much, for it’s meatloaf and meatloaf is his thing.)

I’m trying to say two different things here… something tells me this is going to come across as rather incoherent… here goes.

other times,
I dislike very much the FORM, the way something is PRESENTED… it’s IMAGE, too.
I dislike it as ARBITRARY, and “kinda uncool and uninteresting.”

yes, raw materials liked by me could help this situation, but here’s another idea:

*I typed the end of this, anticipating what I’d say…. then came back and- can’t get my thoughts organized, and now they involve using “lower” (what’s lower?) art forms IN “higher ones” (what are “higher” ones, and could there BE a more “white/western-centric approach to ANYTHING…?

to be continued after I think about it

the end:

thus I agree with Beethoven from the end, which if I remember correctly (I do, and Thanks DR. RUBIO)
“CONTENT DETERMINES FORM.” (at least more so than it once did.

to do otherwise, is to agree with “no child left behind” and any other one-size-fits-all JIVE ASS CONFORMIST approach, which

it’s getting late.
we really need to do what the hell we want.
when we’re gone…. we won’t want anything no more, nor be able to do it.

let’s GO! let’s GO!!!!!

My Way, and I Love Myself (we all must)

I’d not have written my jazz band arrangement, nor my marching arrangements, nor my percussion pieces in the way that I have, if I cared. how can I afford to care?
I care what I want, what I want to learn, and what happens when I do things a certain way, I don’t care for being liked to the extent that I purposefully learn what others have done that have worked.
why should I? such a thought hides “strong” anger within me, strong anger and resentment.
I like to do things MY way.
I don’t need your approval, your love. I have my own.
If I’m not to your taste, well then that is fine, I’m to someones taste, and to mine.
I love myself, and some others do and will love me too, and that’s enough.

not caring about being understood, when-

when caring about being understood, indeed, when being understood, is less important than learning your craft.

I mean, think of a baby, or a child, or a creative adult or something.

a child isn’t concerned with whether anyone will care what it’s doing when it drops, say, a spoon.  it’s interested in GRAVITY and HOW IT WORKS, and the results of it’s actions, not others.


-about music, and compromising and doing things in good enough ways, rather than the HONEST kind, where “I” am EXPERIMENTING, and LEARNING what doesn’t work and WHY….

why would I care to make things allegedly easy for typical people to understand?
why not indulge my curiosity and fancy?
if I cared about that, I’d just write boring block chords instead of TRYING things, to SEE what HAPPENS.

most uncreative, simply obedient.

why be that way?

I shall not, and am not.

(this was specifically about composing, music at that, and that there have been times when I have written chords “my” way, not the conventional way, or have orchestrated things in a way that seems interesting TO ME< NOW, and not in some “accepted” way.

I mean, really, why should I care if others “approve” of what I’m doing?