i only played over these chord changes this one time, and i could barely stand up when i did. the gf i had at the time (c.’93/‘94) was leaving for work one morning and i asked her to give me a letter between A and G and she said; “B”!  then i said; “give me another” and “F” came out, and off she went. this particular gf was into meth, hence so was i, anyway, i proceeded to sit down at the piano and write a series of chords (in two sections), all of which contained the notes B and F. those musically minded among you will recognize the significance of the interval created by this pair, aka: the “Tri-Tone” named
such because it is indeed 3 whole tones, (or 6 half steps) between them. in normal or traditional harmony these would be what i call the “active ingredients” of the dominant chord. anyway, enough 
of all that bullshite, the first chord i wrote was an Ab minor13 (having Cb (aka B) and Gb and Bb and F 
and so on. anyway (#2) i was drinking some sort of alcohol, as well as doing the other stuff, from that morning to the following dawn, by which time i was entering the changes into my computer sequencer, which triggered various sampled instruments. then i found that my sole microphone (one i’d bought as a 15 yr. old, a Shure PE56 that was so old it didn’t even have XLR jacks, but rather some other sort of type,
where once the cord was inserted, you’d screw a little ring around the mic’s base to secure it!) to continue, i found that the cord was messed up. i remember trying to twist the two different wires together (i had no soldering iron) and wrapping tape around the whole ugly mess. so finally i was ready to play…but wait, first i needed to do an analysis of the chords in my own system, which is really pretty
simple to do, and there are often several ways to go about it. part of the whole conception of the idea of using combinations of small interval groups, (by which i mean, 3 notes apiece) was that i wanted to be at
least somewhat surprised by what would come out. you must realize that i’m not actually musically inclined. you may think i’m joking, but i’m dead serious. i’ve worked with the musically inclined for the past 40 years and there is H U G E difference between them and me. i’m what i call “musically curious” 
so while i have of course learned a lot over the years, and my “hearing” is, i would hope, always improving, i’m still…well you get the idea, i guess. so once i’d written down at least 2 combinations for each of the chords i was ready to go. but as mentioned, i’d not slept for 24 hours and was pretty loaded 
and finding it difficult to even stand up, so just bear that in mind. i did use these chords once again, on 
the CD “Maria Falling Away” where each chord is used only once (and the piece is 22 minutes long(!)
titled; “The Years in Streams”.

btw, the photo attached to this track is the floor of the “Newman Scoring Stage” located in the 20th Century-Fox film studios. the colored tape indicate’s the microphone’s big boom-stand  placements.

09 b f

July 30th 2016
If 2dayz offering is any indication sumphin fucked up iz headed this way.

xox ub

July 30th 2016

CB 2017

Stay On Board

excerpt from the premiere performance made by the BBC Scottish Symphony Orchestra, under Ilan Volkov, conductor, Tectonics Glasgow 2014

Portions Transparent/Opaque (2014) excerpt

We talk to The Intercept's Ryan Grim about his new book "We've Got People," discussing the Democrats' reliance on big money and how it might be broken by mass-movement based politics. Rahm Emanuel is a central figure in Ryan's book, so we read from Rahm's new column in The Atlantic, ironically called "It's Time To Hold American Elites Accountable for Their Abuses." Finally, we introduce a new character into Chapo canon, NJ representative Josh Gottheimer.

Few tickets left for our UK shows in Glasgow (6/3), London Early (6/5) and Manchester (6/7). Go to www.chapotraphouse.com/tour or https://www.gigsandtours.com/tour/chapo-trap-house for tickets.

Chapo Trap House

318 - Rahm Emmanuelle: The Joys of a Neolib feat. Ryan Grim (5/27/19)

Gerald Stanick, solo viola I
Nicolo Eugelmi, solo viola II
Leah Wyber, solo cello
Christopher Sandvoss, gamba I
Jeannette Wee, gamba II
Michael Kazepides, bass
Jessica Chu, cembalo

09 b f

rick cox

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