All Posts Tagged Tag: ‘bio’
Netlabels release material under Creative Commons licenses. This means that the author can determine how his music (or video, or book) is licensed. Typically it is released as “Attribution-Noncommercial-No Derivative” which means you are free to share the music–spread it far and wide as long as you give the author credit and do not use it for commercial purposes. This means that people can take my songs and burn 100 copies to CD if they like, as long as they do not sell the CDs for profit or use them for commercial gain (use them as the soundtrack to a film, for instance). In the unlikely event that someone ‘stole’ my songs for commercial use, I could sue and it would be upheld in court, even though I have not pursued an actual copyright. Not to mention, I have the source material for all my songs and could prove that I composed them.
I followed the custom of releasing material as albums, though they are not actual albums. I will list them here in chronological order, with a bit of explanation. All the following music is non-dance electronic music. The whole genre is really esoteric and not for everyone. Although I started making music in 1996, all of this “released” material is from 2001 and beyond (there’s good reason for that).
Ekiv EP – several short, intense tracks from my first year living with Jaime in Athens. Most of the percussion sounds on here were sampled by me (smash two things together and call it a snare drum)
Fish Food EP – more laid back, more lush sounds
Safety Glass EP – back to rough, harsh sounds. I think this is my best release
Sinister Device LP – full-length (about 50minute) release that has over 15,000 downloads. “The public’s” favorite release of mine. Lots of help from friends on this one.
Millions Never Tried EP (with e-sin) – cooperative album with a friend of mine. The latest (and most mature) of my releases. I love the first two tracks, along with “Seren.” (The link below plays the songs out of order, so scratch that previous statement)
Plus there are several more songs (of different types) on my personal music page, and several “leaked” tracks on different file-sharing networks.
If you believe what he just said in his press conference, Kurt Warner has officially retired (See, Favre? That’s how it’s done! None of this wishy-washy retiring business). His is one of the greatest and most improbable stories in NFL history, to say the least.
After playing in college, he was not drafted by an NFL team. He then tried out for the Green Bay Packers in 1994 but did not make the team. He (now-famously) stocked shelves at a grocery store for $5.50/hr until he signed with an AFL team in 1995. He was eventually signed as a third-string quarterback to the St. Louis Rams in 1998. Teammate’s injuries forced the coach to use Kurt Warner as a “temporary” starting quarterback. In his first four games as a starting quarterback in the NFL, Warner threw a total of 14 touchdowns. He led the Rams to a Super Bowl victory that same year, throwing for 414 yards in the big game (still the most ever in a Super Bowl game). He received league MVP as well as Super Bowl MVP awards in the same season. He had a few more good seasons–including a second Super Bowl appearance–followed by a couple of shaky seasons, and the Rams released Warner in 2004.
He immediately signed a two-year deal with the Giants. After starting the 2004 season with a 5-4 record, the Giants benched Warner in favor of the rookie Eli Manning, who finished the remainder of the season with a 1-6 record. Warner signed with the Arizona Cardinals in 2005 and had two tumultuous years in which he was benched and replaced with untested quarterbacks several times. In 2008, the Kurt Warner of old was back. He made all his former teams and coaches look silly for benching (or releasing) him in the past. With the exception of losing the Super Bowl, his 2008 postseason was the best on record. He set the yardage record and tied the postseason touchdown record. The 2009 season saw him break more records and reach career milestones (such as reaching 200 career touchdowns). He had a playoff game with 5 passing touchdowns against the Green Bay Packers but was nearly shut out by the New Orleans Saints the following week. After enduring several sacks and a brutal block-from-behind following an interception, Warner left the game for a time. The Cardinals suffered a 31-point defeat to end the season (and Warner’s career).
Now the talk has shifted to “does Kurt Warner deserve to be in the Hall of Fame?” Some rankings and records in favor of Warner:
- Career pass yards in Super Bowls: 1,156 (1st)
- He owns all three of the highest yardage performances in Super Bowl history.
- Pass yards in a single postseason: 1,147 (1st)
- Career MVP awards: 2 (T-3rd)
- Career Pass Yards Per Game: 258.8 (2nd)
- Career completion percentage: 65.4% (2nd)
- Pass Touchdowns in a single postseason: 11 (T-1st, Joe Montana)
- Highest completion percentage in a single regular-season game: 92.3% (1st)
- Consecutive 300+ yard passing games: 6 (T-1st)
- Number of games to reach 30,000 total yards: 114 (T-1st, Dan Marino)
The common arguments against him are his refusal to rush for yards and his tendency to be very streaky (in both the negative and positive aspects of the word), but the general feeling has shifted and most experts now believe he belongs in the NFL Hall of Fame.
Bye, Kurt. Now who will be my wife’s fantasy quarterback?
Virtually nothing is known about Blind Blake‘s life. His real name, his birth year, his birth location, and the circumstances surrounding his death are all educated guesses and hearsay. Only one picture survives of Blind Blake. He recorded about 80 sides between 1926 and 1932, though some of “his” final sides are believed to be someone other than Blind Blake. Though his singing voice wasn’t as passionate as other blues singers, his guitar playing is inimitable. He was advertised as “Blind Blake and his piano-sounding guitar” and is considered by most to be the king of ragtime guitar. He was able to emulate counterpoint ragtime, including full chords and melodies, on one six-string guitar. In my mind, he was one of the best guitarist ever. It is very difficult to believe that some of his songs are played on one guitar.
His heavy drinking, along with Paramount Records‘ bankruptcy, led to his career (and life) ending early. Some say he was killed by a streetcar during a drinking binge at age 40.
This article contains much more information (in the way of quotes and opinions of more recent performers) about Blind Blake and his influence.
earsauce (no majuscules allowed) is a studio music project involving only Steve Bower and myself. We have focused solely on the recording of songs. We make something up, slowly record the parts in my basement (over a period of weeks or months), then forget how to play them. On to the next song. Don’t look back. We have begun well over 50 songs using this method, and finished about 60% of them so far.
There are obvious drawbacks to making music this way. With two albums worth of finished songs, we have no way to play most of the music live. No way to reproduce the layers and parts with just two people on stage. So now we’re going back and making stage versions of the songs (take the ‘album version’ and cut out the guitar/bass/vocals, and leave the rest as a fake backup band). Even still, we have to go back and re-learn most of our own parts.
My plan is to have a mastered album that we can promote sometime in the first half of 2010. That would still mean it took us five years to make one album.
I don’t know how to describe the style of music–not because it is unique, but because it is so varied. Between the two of us, there are many musical influences, and we try to let them all shine through. Some stuff is electronic (my department), some stuff is folksy (both), and some of it has a tinge of rock (Steve). We also split the duties pretty evenly:
Songwriting – both
Lyrics – both
Guitar – both
Vocals – both
Bass – Steve
Hand Drums – Steve
Harmonica – Evan
Piano – both (but mostly Evan)
Banjo – both
Violin – Steve
Synthesizers – Evan
Recording Engineer – both
Production (beats, levels, etc) – Evan
At times we’re really interested in recording new stuff, and at times we’re not. That’s the beauty of the arrangement. We’re not ‘on the clock’ paying for studio time. No schedules. Nothing is forced. That’s the way it should be. Hopefully the relaxed attitude comes through in the music, because that’s what I like.