Bookmarks for June 7th through June 12th
These are my links for June 7th through June 12th: Class, power & ideology – – the illusion of control causes people to over-estimate the chances of them escaping the working class through their own efforts, and so under-estimate the importance of collective class action . – the in-group heterogeneity bias (which is the flipside [...]
Cleaning Out the Garage
summer is here and i’m actually think it might be productive. it’s not like i don’t need the break, i’m just not that productive when i don’t have any real structure to my day. overall the last few years have been a little too much drama for me and it’s time to “get my house in order” (literally as well as figuratively).
1st up is cleaning out my garage and turning it into a rehearsal studio/performance space. over the last few years i have definitely outgrown my “office” and now that i’m teaching private students at the house i need a bigger space to work in. after editing and mixing three albums (not to mention most of the composing that i do at home)i also have to admit that i really need a change of scenery. even though i wasn’t writing that much music this past year i found it very hard to want to sit down at my desk to do anything creative so i ventured out anywhere i could think of as an alternative creative space (including different rooms in the house) and came to the conclusion that having a larger space in my garage should do the trick for now. it will also allow me to setup and properly practice with the all the gear i’m using with my “music for controllers” setup. instead making music through headphones i really have needed to spend the time figuring out how to play these pieces “live” and have come to realize it’s much more involved than when I just played trombone.
the main problem is getting a proper balance when you are mixing live acoustic instruments (trombone, voice) and controllers (kaossilator, drone/scruti box, buddha machine, ableton live, launchpad, etc…). i also have realized that mixing electric and acoustic instruments without sound reinforcement can be very a very disjointed listening experience in a live performance and in many ways my even though much of this music is not technically hard to perform my “practicing” centers around how to setup gear, mics, and amps which means that i have to pretty much be practicing/performing with a stereo/PA system to make my performances aurally make sense.
with all that being said (and after trying to mostly “practice” at other locations) the reality is that the setup and teardown of this technological spectacle (a few amps, mic/stand, laptop/keyboard stand/table, MOTU traveller(digital/audio interface), and 2 pedal boards) can take almost as long as the rehearsal so for the time being i’m going to be only performing solo or with whomever musicians that can make it to the 90042 for a weekly rehearsal.
after driving down to fullerton and back for the last 20 years for PBE and DIE rehearsals can really take it’s toll and at this point in my life i think it’s only natural to change things up and make music in a different way. to me it’s kinda funny b/c on one hand i know there are a lot of people who over the past few years have been introduced to my “Retrace Our Steps/PBE 1.0″ music who really wish i was making more music with the larger group and really like the strings/winds/rock band orchestration. there are also another group who have only seen the “PBE 2.0 rock band” (as we jokingly called it) and keep asking when that group is going to perform again. all i can say is that part of making alt-classical music is not really having the control to make those choices which leaves me to make music with the equipment and musicians that are available (and not continually banging my trying to fit a round peg in a square hole)
the good news is that if all goes well I should be performing on a regular basis soon. when and if there will be a PBE 3.0 is yet to be seen. right now one step at a time is fine with me.
LRG.CSUF.032510.8pm.$10
fresh from my email…
Lloyd Rodgers Group in Concert
Premiere performance of “Darkening of the Light” from “Descent Into Formalism”
– Seventeen Movements: Counterpoints, Harmonies, and Meditations
Thursday, 25 March 2010
Bookmarks for November 2nd through November 6th [del.icio.us]
![Bookmarks for November 2nd through November 6th [del.icio.us]](http://www.paulbailey.us/wp-content/uploads/2009/11/51UxzILIxzL._SS500_1-150x150.jpg)
Bookmarks from November 2nd through November 6th:[del.icio.us]
- Lefsetz Letter » Blog Archive » Streaming -
“Ownership is for pussies. Oh, don’t e-mail, you same people who said we should save the album. Notice what a few years do? Radiohead says no more albums, Rush the same thing. So, when your favorite acts give up on the long form format, don’t you too? I know you do. Because you’ve stopped sending me hate mail in quantity. If I write the album is history, I now only get a couple of e-mails complaining. Whereas I used to get hundreds! How many years until when I say streaming is the answer that I get the same miniscule response? How long until you nod your head and say I’m right? The major labels are confused. They were for streaming a decade ago, then they were for ownership, and now they’re afraid somebody’s gonna come up with a streaming solution and become the new MTV and have all the power. But maybe not all the profits, the majors are investors in Spotify.”
- Your Carnitas Wonderland – Los Angeles Area Digest – CHOW
“Metro Balderas is a family operation with four locations in Los Angeles, each run by a different member of the family. exilekiss visited the Highland Park branch, run by Jasmine Guzman. Every Saturday and Sunday, Metro Balderas offers eight types of pork carnitas in the Distrito Federal style for a barrage of carnitas taco glory.”
- WitnessLA.com » Blog Archive » ON BEING BLUE: A Cop Talks About Cops – Part II -
2008 Witness LA interview with the new LAPD chief of police, Charlie Beck
- Benjamin Smith: Improvisations -
“Benjamin Smith is an improvisor currently living in West Orange, New Jersey. Smith ventures far beyond the standard idea of jazz improvisation, into a sound world equally influenced by modern classical. All of the pieces are free improvisations invented at the time of recording, and feature Smith alone at a Yamaha P-70 digital keyboard. He say…”
- Kalvos and Damian Show #557 with The Brick Elephant Festival of Firsts – ImprovFriday -
“David “Damian or is it Kalvos” Gunn traveled to Valley Falls, New York, to join M J Leach at the Brick Elephant for the “Festival of Firsts”. MJ co-hosted the K&D show for the four-hour concert that included music by Karl Korte, Dan Evans Farkas, Nicholas Chase, Alfred Brown, Al Margolis, Doug Van Nort, Petr Machadjik, Kjell Perder, Conrad Kehn, and Richard Lainhart — as well as David and MJ’s music. The show is up on the K&D site in four parts. http://kalvos.org/shows-2009.html There was a lot of interesting partial and full improv on the concert — full program is at ReSoundings.Net. “
- Newspaper first to go live with public Google Wave | Media Owners | Revolution -
“Following the hype around the launch of Google Wave, German newspaper Welt Kompakt has become one of the first to launch a public Wave, helping readers interact with the title”
- The Complete Guide to Google Wave: How to Use Google Wave -
The Complete Guide to Google Wave is a comprehensive user manual by Gina Trapani with Adam Pash. Google Wave is a new web-based collaboration tool that’s notoriously difficult to understand. This guide will help. Here you’ll learn how to use Google Wave to get things done with your group. Because Wave is such a new product that’s evolving quickly, this guidebook is a work in progress that will update in concert with Wave as it grows and changes. Read more about The Complete Guide to Google Wave.
Bookmarks for June 18th through June 21st
i cast fireball! -pbe vibraphonist ryan nunes 2nd open mic night ever (pretty funny and very NSFW)
“ASPEN 20” – SR-71 – Groundspeed Check great flying story… “There were a lot of things we couldn’t do in an SR-71 Blackbird (The Air Force/NASA super fast, highest flying reconnaissance jet, nicknamed, “The Sled”), but we were the fastest guys on the block and loved reminding our fellow aviators of this fact. People often asked us if, because of this fact, it was fun to fly the jet. Fun would not be the first word I would use to describe flying this plane – intense, maybe, even cerebral. But there was one day in our Sled experience when we would have to say that it was pure fun to be the fastest guys out there, at least for a moment.”
The Adventures of Wang: That’s what she said “For me, the attraction of being a performer came from the endless persuit of perfection: perfectly exact sentiment delivered through perfectly precise techniques. It’s like a bunch of people running in one direction towards an infinite goal. I enjoyed the communication , the comadery, and the expressive aspects of performing, but what really got me hooked is the fact that I am running towards an ending that exists only in theory. But as I grow older and closer to a [potentially temporary] end of my training in performance, I realized that all serious pursuits in life is a run towards an infinite goal, and perfection is defined only by what human minds are capable of imagining. When we are all running in one direction, our pursuits become not “perfection” but the upper limit of the best of us.”
Eating L.A.: First L.A. Commons tour picks Highland Park -funny that they are giving $20 tours of my neighborhood. i do it every day for free. “From 12pm-4pm we will tour Highland Park, providing tour goers with opportunities to sample unique street foods from the regions of Mexico and Central America. Highlights will include a stop at the famous Blue Taco Truck and tasting cemitas (little sandwiches from the region of Puebla) at an old local haunt. The tour will include a guided walk around the neighborhood, complete with historical trivia (do you know which donut-maker originated in Highland Park?) peppered throughout and conclude with an introduction to Chicken Boy by Amy Inouye, tour guide, gallery owner and mom to Chicken Boy. The tour has an optional visit to the “smokin’” Highland Park car show, where art meets the street.”
brenner and bailey's digital circus
both of these shows are going to be a bit different than usual. since last may’s performance of the requiem for a high homicide enclave i have been using a wide variety of digital controllers in performance and this is our first big step in figuring out what works in front of a live audience. both shows are going to be laid back and probably similar to watching a comedian work out new material.
learning is doing
learning is doing
which means I have spent most of my years trying to avoid teaching music appreciation. on the face of it what could be wrong sharing the joys of listening to music? unfortunately to me teaching people how to “listen to music” is like teaching a math class without doing any math. no matter how you cut it talking (and lecturing) about music is about as interesting as teaching an sex ed class on abstinence in alaska. most people “appreciate” music very well and the elephant is the room is that they are expected “appreciate” art music, because it will make them smarter, more cosmopolitan, or something like that. times are tight and being one of the many california state university pt-faculty who have been cutback this fall I gotta take whatever classes that come my way.
my main concern with teaching music appreciation was confirmed after a quick perusal of a few textbooks. most are based on teaching western art music through the reduction of the historical periods in to easily digestible generic “facts” and the predictable passion and personal trivia narratives of art music composers. (i think i know why composer biopics usually suck so much, the writers are using their music appreciation books as primary source material) its not that every music appreciation book totally sucks, just that i can see that most of my time is going to be spent cherry picking reading material from a variety of sources that doesn’t reduce the lecture to simplistic cliches. my gut feeling is that the more time we are reading and listening to primary sources, the better.
i wasn’t quite sure what to expect teaching an 8 am saturday morning class on a off-campus site (a local charter school campus). since most schools are locked down pretty tight on the weekends i figured that on the first day there would be a crowd of us waiting outside the main gate for a janitor to show up the school. I was surprised that when i pulled up at 7:30 am there was somebody waiting at the gate for me. not only was the school open and students ready to go, but I noticed they were much younger than i expected.
i realized that this was not the class that was advertised to me. after talking to the assistant principal he explained that this was an their pilot program on the saturday school concept. unlike most public schools that have many federal resources to teach kids that are below grade level on the weekends the LA Alliance charter school are partnering up with the local community college to fill this void. to me this brings up a whole bunch of obvious questions. i’m already questioning the logic in having community college teachers work with kids that are quite a bit behind on their path to graduation. (remember all need to teach community college is a masters degree, and most college professors have no training in secondary school pedagogy) this all being said, i’m happy to teach the kids in front of me not the ones you expected.
after the first hour it was obvious that their reading and writing skill are not quite ready for prime time, so by now my goals for the class are changing pretty quickly, more singing, clapping, and experiencing music as possible. gotta break up the class into 15 min segments. i’m also not going to worry about the traditional drop the needle testing of composers and titles. i’d rather have the class be able to just identify music by its elements (melody, harmony, form, rhythm and timbre). just by the short time working with them this is a pretty big goal, but i think a worthy of the class-time. i also know that this class can help improve their reading and writing skills. most students have a problem with technical reading (textbooks) and spending some time in the book, probably could help prepare them on how to use their college textbooks as a resourese and not a doorstop.
three hours on a saturday morning with a class of HS kids was not what i expected, but i really was impressed with the charter school and the students. they obviously have to be there to graduate (and probably continue as students in the school). but we sang, clapped and made a pretty good use of the time. i’m still not sure what i’m going to do about the textbooks/CD’s ($100+) and concert attendance. asking working class families to spend that much on a book that isn’t much of a resource to begin with is a problem, and i’m not sure how i feel about requiring HS kids to attend concerts when public transportation is their only way to get around. in a normal HS setting we would take a field trip to a show and bring groups on campus. i’ll check into seeing if this is possible.
what are my goals? is this class worth teaching? i hope so.
my gut tells me to break it up into theory and practice. if i’m going to have a class for 16 weeks and all we do is talk about music, i hope somebody shoots me.
i want kids to be able match pitch, sing simple songs, duets and rounds, learn to find and keep a steady pulse. i’m going to teach them notation through solfege (i already started and they don’t know it yet) and hopefully tie in all the book learning by relating it through their limited in-class performance skills. i know introducing improvisation and composition should be in there somewhere, but without any keyboards, laptops or instruments, i’m not sure about it? we could make instruments, but because these aren’t my facilities or my classroom makes the whole endeavor more complicated. its going to be a journey, and an interesting change of pace from what i am comfortable with which is probably what i need at this stage of the game.
RealNewMusic 2008
RealNewMusic 2008 Saturday, June 21, 2008, 7:00 pm Tickets $10.00 / $7.50 / $5.00 (students & seniors) The Ruth B. Shannon Center for the Performing Arts Whittier College, 6760 Painter Ave., Whittier Box Office: 562.907.4203 Google map to the Shannon Center featuring: PBE is an alt-classical garage band that plays the music of a variety [...]
he was mad against this life
REDCAT Spring StudioMay 17 & 18, 2008, 8:30 pmRoy and Edna Disney/CalArts Theater631 W 2nd Street, Los Angeles, CA 90012 The latest edition of REDCAT’s ongoing performance series brings together a dynamic range of six emerging and established Los Angeles artists to launch new projects, investigate new forms and experiment with new ideas. Curated by [...]
requiem for a high homicide enclave
here is early view of the trailer for my new piece; requiem for a high homicide enclave based on a deconstruction of purcell’s funeral music for queen mary (its probably viewed best in full screen) Be the first to like. Like Unlike
learning a new instrument
this spring continues to be a steady progression of ups and downs. the flu was a 5 week body blow to start the year and this past week (welcome spring!) allergies have been kicking my ass. that all being said, i’m finally back to my routine of transcribing, writing and arranging except this time (instead [...]
the sausage factory
as you can see on the right side of my blog i have decided to start twittering my new project. so far i’m about 2 weeks into getting my chops back after spending the last 8 months editing, recording, and promotion of my retrace our steps EP and life’s too short CD. the whole process [...]
leaderless fear?
the pbe hiatus is finally over. in rehearsal tonight we realized that 3 months was the longest break we have ever taken since we started in 2002. i’m glad to be back to it preparing for a club show at mr. t’s bowl (our favorite venue) on feb 20th. we are very fortunate to have john mahr covering keyboards during eric hendrikson’s personal leave.
reh went well tonight, we started in on quite a bit of music that we haven’t performed that much and ended up with quite a bit more music then we can use. so far the setlist is starting to look something like this:
chaconne, john brenner (great modular piece)
bonedance, lloyd rodgers
fearless leader, pb
life’s too short, pb (tentative, 2 of 3 singers confirmed…)
national anthem, radiohead (cover)
this spring we are also working on adding doug hein’s orlando and john brenner’s leaderless fear to our repertoire. one thing that i have noticed about programming is that a concert of 5 or more pieces by most any composer can be a real drag (especially mine). i try and not program more than 2-3 of my own pieces, and when planning this show it became clear that when you pick the top 1-2 pieces from a variety of composers it quickly can become a pretty exceptional show.
anyhow, its great to be back in the game and with last night’s great rehearsal i can get up to the mountains for a few days in much better state of mind. school starts in a week and our budget has been slashed 10%, so i sure hope i still have some classes to teach. (remember life’s meant to be endured not enjoyed)
so while i’m away please help yourself to any or all the following;
its new, it fun, and free!****
and its an secular oratorio based on texts gertrude stein, guy debord and jenny bitner. while i was making it, i decided that it would be much more interesting and informative to have a graphic libretto instead of program notes. it was such an obvious idea and was surprised to find that nobody else seems to be doing this. so check it out and let me know what you think.
retrace our steps, act 1
retrace our steps, act 2
retrace our steps, act 3
retrace our steps, act 4
assorted live performances from fall 07
life’s too short (092507)
fearless leader, lacc, 100207
11/25/05 (with real quiet, 102507)
11/25/05 (with real quiet, 102507)
you can also support the pbe by purchasing our first album; music from summerland (2002)
download full album ($5) google checkout or paypal
(****at least for you early adopters. i’m trying something new and going to give this one away until CD#3 comes out (life’s too short, fall 08). i think giving away the new stuff and selling the back catalog isn’t a bad idea. so try it out and if you like it, i bet you might like my previous CD music from summerland)
how wonderful is brian ferneyhough?
so this is the post where i’m supposed to give you some special reason to come to our next show on tuesday september 25th. i just got back from a really great rehearsal and ready to start spreading the propaganda.
with the traffic in southern cal i know it takes a special kind of person to drive anywhere after a long day of work. the real question is why is this concert worth attending? first off we are sharing the concert with the new kids on the block of new music (NKOTBNM or as they liked to be called real quiet) the nyc based chamber group is making its first los angeles/oc appearance the just released their new album tight sweater (featuring the music of marc mellits)which is pretty frakkin’ great. besides mellits music they are playing music of phil kline, and annie gosfield.
as for the pbe. i’m kinda surprised that we are even playing this show. last may it looked like curtains for the us, carl, ryan and bruce would all be leaving the pbe after graduation. thankfully bruce decided to stay for the time being and our original bass player matt menaged moved back into town this summer. this lineup is a powerhouse and has gelled quite nicely. i’d say its pbe 3.o.
so what about the show? or as they used to say “where’s the beef?”our goals are very consistent and simple. we want to entertain you, we want to make you think and we want to have a great time performing music that we wouldn’t get to play anywhere else. entertainment wise, its the strongest set we have yet played. as a show its got something for everybody; garage band jam’s, covers, vocal fun and some modular improvisation. so go ahead see for yourself…
cheap admiration-
its technically a harmonic deconstruction of johann pezel’s sonata ciacona in B. its a great introduction to what we do and always lets the audience know we are more garage band than chamber group.
fearless leader-
this tune has had more versions than a cat has lives. it started very unsuccessfully as an ambitious modular experiment that failed miserably in a live reviewed performance at whittier college (thanks again to the oc register’s tim mangan for a really polite review of that debacle). over time it became more of an orchestration study. its not a perfect piece, but at the time i think i was creatively blocked and i looked at finishing it as a challenge to overcome. i keep asking the group if they want to take it out of the set, but they seem to like it more than me.
eye for optical theory
this probably has to be one of my favorite michael nyman tunes. i have never been able to find a score of it, so one summer i decided to write it down. its based on a repeated ground bass (kind of like fearless leader) and about halfway through i realized his “trick” is that he only was using combination of about 8-9 repeated melodies. my version plays on this and i just started with my sheet of melodies and hooked them together like lego’s to make my own version. in last nights rehearsal i added a call and response introduction where our keyboard player eric plays one of the antecedent licks and we play its consequent answer. we play this game until he wants to start the piece and then plays the first line in octaves to let us know to go on. its fun way to bring a little life to one of our fluffier pieces. i also strongly feel that a night of any one composers music can be pretty exhausting. a little nyman along the way sets up the rest of the show really well.
life’s too short
this is the showpiece of the night. its one of the few compositions that i have written that came out effortlessly fully composed and orchestrated. in our first rehearsal we played it head to toe without stopping once. its a pretty damn good piece and i’m still couldn’t tell you how i wrote it. what is it about? self actualization through nihilism, nietzsche meet tony robbins. its in english. you will be able to understand the text. its over the top. its funny. its in your face.
in many ways i think its a conceptually a reaction of going to a very well performed master chorale concert in which all the music was by american composers but none of it was in english. everything was well written and orchestrated, but the concept of having your audience sit and listen to some “secret code” was insane. scanning the crowd from the back row of disney hall this performances seemed more dehumanizing as the evening wore on. the audience wanted to like it, and seemed desperate to connect with the music. (it was beautiful) but what kind of conversation goes on for an two hours in a variety of assorted foriegn languages? sitting in the audience felt like a strange ritual listening to an evening of recently composed choral music without theater or narrative.
anytime you add vocalists to anything its like hearding cats. on most nights the energy they add to an instrumental show can be hard to control. when they come on stage its easy for me to forget my job (the cues and conducting) because i really love to hear them sing. over time i realized that once i get them to the middle of most pieces we loosen up and have a lot of fun on the back end.
principle of sufficient irritation (11/25/05)
this is probably or favorite piece. its written in a modular style with a variety pre-composed melodic syncopated and ostinato lines. (terry riley’s in C is the most famous example). overall its more similar to the improvisational process used in tv shows like curb your enthusiasm or any of christopher guest’s wonderful movies. the piece has a very clear beginning middle and end and we all know our responsibilities in each section. for instance i play some melody in the first section, lead the group into the canon in the middle, and play ostinatos in the third. how and what i’ll play i can choose every night. over time there are happy accidents that turn the piece in new directions. each new player that comes in also brings their own personality into the piece. one of the good things about 11/25 is that its got a nice rhythmic/melodic turn when it we start moving from the submediant to the tonic moving from a hard charging 6/8 to 3/4. (and back to the original opening statement) while it serves as a very energetic totem that no matter how the evening is going that once we get rolling towards that ‘turn’ its a very simple engine that creates quite a lot of energy. some nights we even feel like we can levitate the stage during this section which is the whole reason i got into th
yle=”font-size:100%;”>is racket.
are you sold yet? still skeptical? i know i have been to more bad new music concerts than i count. please don’t hold that against me. i hated them also. how about if i sweeten the deal with a guarantee (of course i can’t really afford to give you a money back offer… i’m only public employee) if you don’t like the show i’ll buy you a beer, i just don’t want to hear about how wonderful brian ferneyhough is.
how to pass sight singing and dictation
i think i almost gave this speech word for word last week in my both my musicianship classes. here is a few excerpts (with comments) from johnathan filbert’s blog, sound on. i’m sure many of you probably haven’t encountered edwin gordon’s rhythmic solfege system (du-de’s). i use it to introduce rhythm to younger students. the [...]
upgrade
i got a somewhat surprising phone call from a friend this weekend wondering how i liked my new iPhone. most people know i am a gadget phreak, but i have to say i was never really interested in this phone. i have a great phone gadget (treo 680) that does everything that i need. i’m [...]
mother tongue
just to start this off on the right foot let me point out that i really like going to la master chorale concerts. i’m really glad they tackle so much new music and i thought the concert was very well performed. i’m not sure why i’m so snippy about this gig, but here are my [...]
that was a great show yesterday, here are some of the highlights: my apologies for sending bruce gallego (pbe guitar) on unexpected tour of east-la trying to find the gallery i was surprised that kathy hargraves (dangerous curve gallery owner) was able to kick a film shoot off her street because they didn’t have the [...]
monday morning quarterback
d.i.e. had a pretty good show last wed night in which we premiered david toub’s piece this piece intentionally left blank. i thought it was a very effective composition and pretty good first performance. enjoy the mp3 mp3.
this performance represented the best of social networking and was made possible by david having a well designed website with scores and mp3′s. he also is very smart by having some pieces in open c score that are easily adapted to any instrumentation (most pbe music is written this way) which is the point of the diverse instrument ensemble.
anyway ,it was a challenging but fun piece to play and great example of the exchange of ideas by making your music public. i look forward to playing more of music like this and encourage others to follow.
"now " and "then"
last night was a great example of what i find frustrating in undergraduate comp forums. i know that composition is one of the “black arts” of teaching, so i am really not here to throw stones at students our students. all of the pieces were very well prepared and performed (except for one piece that [...]
looking for you
shane cadman (illustrious theatre orchestra/new music impresario) is looking for an southern california based “art music” composer/performer (solo or ensemble) to perform for approximately 30 minutes on his realnewmusicfestival in whittier on june 23rd. More info can be found at www.realnewmusic.com, or can also contact him for more info. when i was helping shane look [...]
best laid plans
i’m back from a working spring break here in lala land. just finished booking a few shows through may and i’m back to working on the vocal piece i started in the fall (life’s too short). the original version was quickly improvised using the abelton live software program. its a very powerful looping program/sequencer that [...]
because i can't be beethoven
i’m taking a quick break from a very fruitful writing session on my new vocal piece (life’s too short)((yikes, serendipitous irony alert!!)) rehearsal starts tomorrow, more to come later.
okay, quickly i was scanning my newsreader and can’t believe i missed parris patton’s great performance art last weekend at the dangerous curve gallery. link to lovely linda’s review at the losanjealous blog and original the because i can’t be beethoven site.
piano hacks unite! bravo! bravo!
pictures from losanjealous.com
the cartesian reunion "school" (a short history of a long tradition 1979-present)
Although I have decided to at least temporarily continue to make my music available, I am entirely finished with the music establishment. No mainstream American music institution will be permitted to perform my work (Not that there’s much chance of it anyway). Why? Because it’s a rigged game and because it’s run by the elite; [...]
