Steve Marcantonio visits CMAS

It is very hard to quantify this week - one that seemed to have, to say the very least, both extreme highs and lows, but I wanted to take a moment to "publicly" mention one of the very high points. In fact, one of the high points of any week: The visit of Steve Marcantonio to CMAS.

The most obvious point is easy enough for sure. To have some one of Steve's expertise willing to spend as much time as he did with me and my students is still unreal to me. He was unbelievably gracious with his time. He was kinder to me than I could ever possibly deserve. The impact he had on me and CMAS is invaluable to say the very least. I need to write more about it all at some point soon, but, for now, I wanted to just share one thought that I think sums up a lot of it....

At one point Steve was talking to the students about his start and how when he was young he got a chance, via a cousin, to meet a very significant music engineer/producer. He said that as soon as his cousin said the producer's name he (Steve) immediately got very excited. (Paraphrasing) "I've seen this guy's names on so many albums that I love! Of course I want to meet him!"

What struck me later, is how Steve is very much the same for me and my students. For many people. Steve has no ego so I cannot imagine he would have ever made the obvious parallel for us by saying it out loud, but the fact is that Steve is a monumentally important and influential MUSICIAN (he claims he is not one, and I will forever disagree - he is an Artist is the truest sense of the word, but I digress...) and getting to meet him is, for the rest of us, just as it was for him to meet one of his idols. He is that good at what he does.

I learned a lot from Steve in the brief time I got spend with him. Not just things to improve my production technique, or my teaching methods with my students; but I got to see, first hand, a true example of how to be a gifted genius while simultaneously building up others, just for the pure joy of doing so. And though I will certainly never be the former, I can certainly say that I am going to redouble my efforts on the latter.

Thank you, Steve. You are, truly, the best

Meant To Be #NewMusic #Studio #Creating #NewSong

Here's another track from my "Scratching The Surface" (think scratch track) project (more on that at: crossfeedthemix.blogspot.com/2016/04/sc…tudio.html.  This one - "Meant To Be" - got me retesting and retooling a lot of my studio, and the results - good ones I think, nd hopefully you'll agree - got me remixing the other two tracks current up as part of "STS." Still not thrilled with the mastering stage of things, but these things take patience.  Regardless, I'm really enjoying this process, and just getting some music out.  Hoping you are too! As always, thanks for sharing and any feedback.  -Max

You can check out some of my music, including Meant To Be, here:
https://soundcloud.com/richard-maxwell
https://richardmaxwell.bandcamp.com/releases
https://www.reverbnation.com/rchrdmxwll

Scratching The Surface, My #NewMusic #Studio Project

I suppose I could have called it "My Glorified, Self-Indulgent, Demos Project," but that seems a bit too on point.  Haha! Anyway, the truth is that the root of this whole thing is my desire to finally put some of my own music out into the world after many years of being consumed by other, granted incredibly wonderful, music related projects (see www.ArcadiaCMAS.com as a primary example) if only to keep my own Creative Process evolving.

Trouble is, if I am being honest, I am never fully convinced that what I am creating, much less how I am capturing it, is up to a high enough standard.  Yeah, I know that I am far from alone in that, but, regardless, I've learned that, at least for myself, if I don't find some way to push myself past that concern, I'll never release anything.  No, I'm not saying that I'm looking to just put anything out with no standards, but I, at least for now, want some kind of flexibility in this.

So "Scratching The Surface."  It's the "scratch" part actually that's key.  Scratch as in Scratch-Track.  This way I can continue to refine without the pressure of "perfect." Will this matter to my limited (exclusive?  yeah, that sounds better! LOL) audience?  I have no idea, but, like everything else I do, it would seem this is a work in progress, and the truth is that I kinda like that.  I feel like I am at a point where, while I still, of course, want the best results I can possibly get, but more than that I love the idea of my Creative process moving forward, and even more so, documenting that movement by creating and releasing as much music as I can.

You can check out some of the music here:
https://soundcloud.com/richard-maxwell
https://richardmaxwell.bandcamp.com/releases
https://www.reverbnation.com/rchrdmxwll

Close To Home #NewMusic

It's been a while since I've "released" any music to the public, but as I recently got closer to finishing my new home studio (mostly for bringing clients to record their own work) it seemed like I should look at putting some of my own backlog of material out too. This is the first of what I hope will be many more to come.  Thanks for any feedback and sharing!

Soundcloud: https://soundcloud.com/richard-maxwell/close-to-home

Bandcamp: https://richardmaxwell.bandcamp.com/releases

She was walking towards another day

I was just breaking her heart

And she was only trying to find her way

Needing a new start

She says,

“If it’s all the same to you

I dont wanna be alone

If it’s all the same to you

This hits too close

Too close to home.”

She looks back on me and wonders why

I never seem to give a damn

But she knows she shouldn’t cry

I could never be her man

But

“If it’s all the same to you

I dont wanna be alone

If it’s all the same to you

This hits too close

Too close to home.”

Deep in the night you can’t hurt me

Nothing ever stays the same

And though you think you didn’t open up this wound

Doesn’t mean you’re not the one to blame

She says,

“If it’s all the same to you

I dont wanna be alone

If it’s all the same to you

This hits too close

Too close to home.”

“If it’s all the same to you

I dont wanna be alone

If it’s all the same to you

This hits too close

Too close to home.”

She was walking towards another day

I was just breaking her heart

© 2016 by Richard Maxwell
any unauthorized use,  duplication, distribution, or broadcast is a violation of applicable laws

Approaching Song #100 and The "Kitchen Sink" Jam

When I began my latest songwriting journey (write at least one new song every week without fail - and no "through away" or "silly for the sake of silly" songs) I did not really know where it would lead me.  I suppose that was part of the point - an uncertain goal, a process, a new creative path - but at some point I started to look back and wonder, "so, now that I feel more efficient and direct with my writing, now what?"

About 10 weeks or so in (I began on January 1st, 2012, if that matters) I realized that there were other creative elements and processes at play.  For example, is it enough to just write the songs?  What about recording?  Performance? The truth is that I am not sure.

The fact is that I have a vision in my head for all this, but I have not been able to fully bring it to life.  Yet.  It seems to me like all the songs are also tied to my new performance rig.  I'm looking for some way to not just create a new song, but also record it and have it ready for performance. Otherwise it somehow feels incomplete.

And this concerns me.  And not just because while I feel very close to having the rig to the point where it can do what I need it to do live, or in the studio, and I can soon begin to move from the "design/build" phase to the "practice/use" phase, it's still taking so long.  Every week another song written, but except for releasing the lyrics (I started that when my dad passed away this summer - go back and look for an entry called "Open" for more), it's not "out there" as they say.

And they need to be out there.  Not so much because I feel that they are great - I have honestly no idea - but because it feels like they are not being given their due in the full creative process.  Just like an instrument needs to be played, not left in a case; songs need to be more than written, they need to be heard.

And yet the process is so time consuming.  As efficient as I have become, it still takes time. And the resources of my heart, soul, and creative stamina.  So I run out of energy past the writing stage it seems.

Maybe that's why the live rig is so critical to me.  If I can get it working as needed, and if I can practice enough with it, and if I can get it to interface well with my studio and cameras and such, then perhaps I can move past to the next stage.  At least that is my current goal.  I think.

I've put markers up for myself numerous times.  At 10 songs, at 4 months, 6 months, 50 songs, a year...you get the idea.  But except for a couple of one-off, simple, mostly piano/voice performances, none of these songs (currently 98 of them) have been given their time to shine.

There is nothing wrong with the piano/voice by the way, it's just that my "vision" has so much more.  I am throughly entranced by the notion of really pushing the singer/songwriter paradigm, and the rig is the key (at least it appears to be at this time) so the more I write, the more behind I feel.

I could just stop writing and focus entirely on the rig.  Get it up and fully running.  Make it perfect for what I need before adding yet more material that I may never get to release as it all piles on top of itself. And sure that has been a thought that has crossed my mind several times, but it feels wrong.

Wrong because one of the key elements - perhaps the key element - to the rig design is the notion that technology should not be the part that rules the creative process.  So stopping my writing for the sake of what is in many ways a technology issue - granted a complex one - feels way too hypocritical.

But the other reason is that while both the songwriting and the rig are very much truly each a part of my creative process, they are in fact not the same strand of it.  As much as it would free up time, stoping the writing for the rig (or vise versa) will not actually do any good.

So I move on.  Mostly this entry has been a rant, but it has been cathartic, and useful, and therefore worth it.

In the coming days I think I will be able to make the rig "gig ready."  I even plan to make a few small videos capturing my experimenting with it in these early stages.  No idea what the music will be, but the textures should be pretty cool.  And complex in some ways - sonically, if not musically.  "Everything but the kitchen sink," if you follow me.  And maybe even that too.

More soon...

Listen Deeper: Digging A Bit More Into The Creative Process

This is another of the "Maxwellisms" that are part of the CMAS experience, though once again I cannot really take credit for it.  This one is from David Maslanka, a musician I have long admired and was able to work with just a tiny bit a number of years ago. (see earlier posts...)

Recently I was able to reconnect a bit with him and within a conversation regarding how technology applies to music, he told me how he always does his best not to force his students, but rather to"listen as deeply as I can" to help them move their creative process forward.

I am, of course, paraphrasing his words, but the key here is that his words really stuck with me.  David Maslanka is one of those people who you can tell right away has such a great perspective on so many things.  I used to find that intimidating, and something that I felt I had to somehow prove I had as well.  That never works out by the way, but that was my mindset.  In any case...

"Listen deeper" in a lot of ways relates to "nothing forced endures" which I talked about recently as well.  In my case, "Listen deeper" currently is about not getting too caught up in the educational world of music and focusing more on the pure creative element.

If a student presents me with something they have created and it does not work for me, one approach is to essentially say, "you need more training, more advanced skills, more practice, etc."  And that may well be true but it misses the bigger creative point, which is, "what is the student trying to say with their creative efforts?"

Maybe they do need more training and skills, and practice; but maybe not.  Maybe they just need to reframe the sound to better fit their end goal.  So focus on articulating the end goal.  The process of getting there.  Not forcing a particular path to a particular end, that is not derived from the student's pure intent.   Easier said than done, I'm afraid, which is why I don't see it as often as I'd like, even within myself; but that does not in any way diminish its truth or importance.

In my quest to establish CMAS as a legitimate music education tract, I find that I on occasion (more frequently than I might like to admit) I am essentially way too judgmental. This is not intentional, and it is something that I honestly am ashamed to have to admit to, but none the less, there it is.

Self-depricating comments aside, the even more important point is this notion of "it doesn't work for me."  That really says far more about me than the quality of the work.  Who am I to judge?  Seriously.  The arrogance of the very assumption is enough to make me ill.  And don't fall into the trap of thinking that the very role of a teacher is to do just that: evaluate and assign value. It is not.  Certainly not for me.

My job is not to teach creativity.  That is not possible.   My job is to foster creativity.  There is a huge difference and it's an important one, and even if I could teach it, I wouldn't.  Then it would only be my creativity, not my students, and that is not doing justice to them or the creative process in general. Besides, the absurdity of me being an expert in all the styles my students work with every day...you must be kidding.  I go with my gut, sure.  I am honest - some might say to a fault; but you can keep your "expert" label.  I am just hoping I can be musical for them.

And so for me I have no option but to listen deeper.  Actually, it is a choice.  One I am truly happy to have made.

Nothing Forced Endures: Another Thought For CMAS

Continuing on with my notion of explaining a bit about each of the "Maxwellism" signs on the walls of the main room in CMAS.  To be truthful, most, if not all, are not mine, but rather ideas from others that, over time, I have found to have particular, let's call it...resonance (pun intended) for not just the work done in CMAS, but for my overall sense of music just generally.  At any rate, all that said, I think it's good to share these with CMAS.  Not to preach to or "convert" anyone - though I am sure it can come across that way to some - but rather to try, at least in some small way, to open up the creative process just a bit more.  Maybe it helps some in CMAS, maybe not; but they have all helped me, so I feel a certain obligation to at least share.  Anyway...

"Nothing forced endures."  This one has meant a lot to me since I first heard it at the University of Arizona more than 15 years ago.  The credit goes to a brilliant poet, Richard Beale.

I was lucky enough to be very tacitly involved with the premier of David Maslanka's "Mass" a the time.  Truth is that I had no real appreciation for the project.  Not the religious elements, but just the real...music, of it all.  Gregg Hanson the conductor, Maslanka the composer, Beale the lyricist, all of them and all those involved - I just did not quite see it.  Perhaps that is why "Nothing forced endures" has stuck with me.  Even now it still breaks through pretty much all else, no matter what my state of mind (musical or otherwise) in might be in.

So.  What does it mean?  Well, I suppose you'd have to talk to Richard Beale to be certain (unless he's similar to Freddy Mercury, and similar artists, who prefer to refrain from any specific details about their art in order to allow the audience the opportunity to develop their own, hopefully more meaningful connection than one forced on them, even if by the artist themselves.  I fully agree with this approach by the way, as much as I do my best to follow it...but I digress....) but to me it has always meant that truly lasting art, in any form, needs to be organic.  Natural.

Actually, I find it amusing that I still have a hard time even after all these years finding a way to fully articulate this one.  Probably means that I don't have it down myself, but that's part of the journey too, no?  I always find it funny how people (audiences perhaps more so for that matter) generally think that just because you are lucky enough to be considered by some an "expert" or to have had some success as an artist, that you don't still learn (I like the work explore better, but...) more about your art.  It's like it gets forgotten.  "We don't wanna hear the new stuff.  Just play the 'classics."  It's all symptomatic, but again, big surprise, I digress...

Ok.  So let me try to give an example of how I view "nothing forced endures."  I spend a good deal of time working with students on how to explore their creative process.  How to open themselves up to the honesty of their own art.  A lofty goal to be sure, and one I am not at certain I am qualified to attempt, but none the less let's assume for a moment that I require, as just one example, them to write in a particular style.

Now, sure, there is a tremendous value in learning the details of particular style in order to better understand it and how it works and how to better reach an audience through that style and so on.  But what if that style does not appeal to the student?  What if that student is simply not open to the possibilities the style offers.  What if the student just cannot see the opportunity in front of them.  S much so that they get so caught up in the style not working form them that it shuts them down pretty much entirely creatively.  Seems extreme, but think about it.  It happens all the time.  Not just in art, but life in general.

So now that student is lost.  Maybe we get them back maybe we don't, but in the meantime, time has been lost.  Lost for them.  Lost for their creative process to move forward.  Sure we can make everyone do the same thing, and after a while it'll be the norm, and everyone will be ok with it, but in the long run, overall, it lacks truth.  It lacks real artistic integrity.  In the end, and it may be years, or decades, or lifetimes, I believe that art of that nature (not really sure it should be called art - another digression, for another time...) does not last.

Let me be clear.  This is not able the style.  Not at all.  The creative process is not simple.  And for some it is even scary. Coming round to it by any means other than self determined is just not going to be true.  At best its artificial, worse its really just a surrogate for someone else's process.  Think about that.  What a truly horrible disservice.  To make someone else create in a manner that is not their own.

Yes, show then the way.  Yes, open them up to all the possibilities.  But at some point you have to let them be their true selves.  One way or another it has to happen.  But if it does, well, wow!  Imagine the art.  Just imagine.

Nothing forced endures.  Not in music.  Not in life.  And, apparently, not even in blogs.

The Writing's On The Wall. A New Year For CMAS

As the countdown inevitably starts for the upcoming school year, and I turn my attention in a more focused manner towards CMAS, I have been considering how to continue not just the evolution of the program into an even more effective recording and production label, but also my role in that evolution.

One of the things that I am doing for next year is to try to play the role of producer more than just teacher.  It's fairly easy to say that, but the educational system sometimes makes that tougher than I would prefer.  More on that another time...

Another change that I want to initiate is to try to reenforce more directly several of the key tenants or philosophies that have guiding me as I created, advance (I hope) and facilitate the program just generally.

This is a bit tricky in some ways as I don't want to overstep my role, but at the same time I would like to also give the CMAS students more opportunities to be open to greater creative possibilities.  So, for now, while not then end-all-be-all solution, I have decided to post a number of key, let's call them "Maxwellisms" in the room to help reenforce the concepts.

I also thought I might comment here on them as well.  I have no idea of any of my students read this blog, but figure it's worth getting the information out, even only for my own sense of what it means.  Anyway....

"Arrogance is the enemy."  This has actually been posted in the main CMAS room for some years.  In fact as you walk in it is positioned on the wall in such a way that despite all the other posters and things up it should be one of the first, if not the first, things a person sees when entering.

This one can be tough.  While helping to give students guidance on their own creative process it is very necessary to let their egos take hold a bit.  Ego matters.  It's important to the process.  Otherwise no one would ever get on stage, or present a recording, or even explore an idea they came up with.

But arrogance is something different.  Something musically dangerous.  It blinds one to advancing musical ideas.  It can cheapen the impact of those ideas.  And, perhaps, worse of all, it limits the opportunities to explore even greater musical possibilities with others, be they through collaboration or just in reaching an audience.

For a student in CMAS, it might be their unwillingness to follow the creative process honestly - taking short cuts rather than doing the heavy lifting.  Or it might mean refusing to really be part of the behind the scenes work for their own show - making the excuse that someone else can do it (even if better than they) when the truth is they really just don't want to take the responsibility.  There are countless others examples, but you get the idea.

The point is that while we all need ego to do our jobs, when it turns to arrogance things never work out.  If you are difficult to work with on any level - even if you are well intentioned - there will come a point where no matter how talented you are, people will stop coming to you.

Arrogance is not just the enemy of those around you.  It's the enemy of yourself.  It's the enemy of all things creative.

Covers Aren't What They Used To Be

As usual I'm late in posting this, but that said, I wanted to share a recent educational revelation.  Well, perhaps "revelation" is not quite right.  At least it was not a revelation of mine, but rather that of my students.

CMAS has a long standing policy of no cover material.  If you wanna perform you are going to have to create all the material for that performance.  Again, no covers.  There are any number of reasons for this.  One is the more obvious issue of copyright.  While it technically falls to the venue to provide the proof a licensing, there is a greater principal of respecting other artists and their work that I feel cannot be over emphasized.  After all, how can you possibly expect any to take your art seriously if you don't respects the art of others.

Now some have argued that it is actually a complement to cover another artist, and to a great degree  I would say that is true.  Others have claimed that learning the proven material of other artists is the best way to develop your own. This is also true to a point, but it is also a very slippery slope.

Here's the thing:  Covering an artist is fine when you make the song truly your own.  The response of an audience though that is along the lines of "wow! you sound exactly like..." well, that's actually not a good thing.  If your motivation is that kind of reaction then that's fine, but that means it's more about your ego than anything else.  Follow the logic through and the best you can possibly get is living vicariously through someone else's talent.  There is nothing wrong with covering someone else, but if you don't actually yearn to truly speak with your own voice, well then, I'm not certain you are not missing the bigger musical picture.

And there is something else.  Something far more significant.  The reaction you get from an audience for a cover will never exceed the reaction you will get for a well written and well performed original.  Never.  Walk the logic through, it's just not possible.  No matter how well you cover another artist - even if you make the song truly your own - it will never exceed the connection you can make by creating something totally new.  Something that your audience can only experience from you.

Ok, so that whole bit would be long series of blogs in and of itself, but going back to the very start of this one, the revelation, was from several of my current CMAS students.  We just did a show at  the Phoenix Hard Rock with another band from the east side of town - not a CMAS group.  They are a phenomenal  cover band.  I mean just amazing - particularly for their ages, all being teenagers.  Very similar in that regard to CMAS.

It was very interesting to talk with several CMAS students at the show.  I need to be clear here that their comments, and mine for that matter, have nothing to do with the band from Gilbert.  This article is about CMAS, not anyone or anything else.

As the show progressed several of my students commented that they saw no point in playing covers.  Not given the response they got from their own material.  It was very particular, their view.  Each kept commenting how impressive the cover band was but that it was kind of disappointing that they were not speaking musically with their own voice.  Proof of their view was when the cover band did a couple of originals in their set.  There was a kind of "ah ha, there it is" feeling.

Now, look, there is nothing wring with covers.  CMAS has very different goals than most high school bands.  Maybe all.  Point is the students themselves, in growing numbers appears to be starting to really understand this.  Speaking with your own musical voice is slowly starting to take real hold.  To become a real priority.  It's something I want to further foster.  Further write about.  Further explore.  The best part is knowing that it appears CMAS students want to do the same.

Ok, off soapbox.  For now...

Moving Music Education Forward One Small Step At A Time

Over the recent years I have to admit that I have gotten used to the notion of the Contemporary Music And Sound (CMAS) program (www.ArcadiaCMAS.com), I am fortunate to have created and get to facilitate, push the boundaries of Music Education.  I know that statement can come across as a bit arrogant, and I apologize for that, but it is not at all how I mean it, and more importantly, it is true.

This past weekend we partnered once again with our friends in the Technical Theater program at Arcadia and produced a complete, full scale musical called "The Arcadia Project." (see the plot synopsis below) And when I say "produced" I mean they students wrote it.  The script, the music, all of it.  Designed and built the sets, executed the technical production, made the program, etc.  EVERYTHING.  It was stunning.  I need to get some pictures up.  In any case...


From the press release: 

“The Arcadia Project” musical’s plot was written by Arcadia’s theater students, and is an epic story of discovery, love, and loss through the eyes of a group of high school students, their teachers, and community, as they come to terms with the fact that their original school, now remodeled, was actually designed to safely house a previously covered up alien invasion force from a distant planet. Part suspense thriller, part comedy, as the story unfolds, we learn that the new school’s design inadvertently freed the outer-space menace, now bent on revenge. As the plot progresses, through moments of deep emotion, humor and intrigue, the students learn that sometimes life is what you make of it, and that every moment counts.

The music for this all original, student production was written entirely by students in Arcadia’s acclaimed CMAS program. Not just a sound track, but a complete live musical experience, this show, with a cast that even boasts a few local Arcadia celebrities, promises to be a great evening’s entertainment for all ages.

Part of the Career and Technical Education department of the Scottsdale Unified School District, the Arcadia High School CMAS and Technical Theater programs have a long and proven history of successfully pushing the boundaries of arts educational opportunities for students, and this musical is certainly no exception. At a time when all the arts are in jeopardy across the entire state of Arizona, the students at Arcadia are hoping to show that the Technical Theater/CMAS/CTE methods they are using to create this amazing event can transform Performing Arts education into something that goes well beyond just performances, but can actually lead to real jobs in the fields they love, all while keeping the programs’ overhead costs below those of the standard Performing Arts approach. It’s a lofty goal, but one they are keen to achieve; so join us at Arcadia on April 18th, 19th, and 20th, and see for yourself just what the arts can be.



I'm going to include the program notes, and other commentary below just to give you an idea of what they did.  And I could certainly go on for quite a while about the entire project, but what matters most to me right now is the notion that we can change education for the better.  Waiting on the politicians to do it is a fools errand, so we gave the kids the ball as it were and just told them to run with it.  This show cost practically nothing to produce in comparison to a standard school musical, but the educational benefits were vastly superior. Vastly.  And the show worked.  It was legitimately a great show.  I should also mention here that as much as I am proud of CMAS, it was my friend, Richard Fairchild (Tech Theater and Drama) who really deserves the credit for coordinating the entire event.  Yes, this was a partnership, but someone has to be in charge overall, and thank goodness it was him and not me.  Also, we did bring in Michele as a bit of a ringer to help with vocal coaching the cast, so that was also a huge advantage we had.  Anyway...

If you missed it the good news is that we are just getting started.  There will be more.  Lots more.


Here's how one school board member described it:

"I had the pleasure last night of seeing The Arcadia Project, and wanted to let you know how much I thoroughly enjoyed it.  It was great fun, and the songs were just terrific.  I’m so impressed that everything was written and composed by these incredibly talented students - you could see that that their hearts and souls were in this production."  

- Barbara Perleberg, Governing Board Member, Scottsdale Unified School District



Here are the program notes and commentary:

Program Notes

One behalf of the entire cast, crew, writers, composers, musicians, and everyone involved, thank you for joining us for this performance.  It’s a lot to produce a school musical – any school musical.  This one has proven to be not just a fantastic challenge, but also incredibly rewarding.  We are immeasurable proud of all the students who have taken part in this process.

School musicals are fraught with countless issues.  Which show can we afford the rights to?  Which show do we even have the students to effectively cast for?  Which show can we afford the production costs of?  Which show will be interesting to the students?  To the audience?  Which show will give the most opportunities for real learning? And so very many others that it got us thinking: Why can’t the students write their own musical?

The truth is, they can.  In fact, as we are now on the other side, we can tell you, it’s not just that they can, the fact is they should.  Just on the practical side, so many issues go away instantly. 

This project is really something new.  Not just a new show, but a new approach to the Arts as a whole.   In truth it’s an approach we’ve been fostering in the Technical Theater, CMAS, and the Career and Technical Education (CTE) department in general for quite some time.

So thank you again, to everyone involved in this process that has lead up to this performance.  We are so very proud of every single student; humbled to have been able to play a small part in their success here; and truly glad you could join us for this event.  And now, on with the show!

Why CTE?

Career and Technical Education is designed to help prepare students for careers straight out of high school.  The CTE courses at Arcadia require that students meet not only a rigorous curriculum based on academic and practical competencies, but also that they demonstrate their skills in projects like the one you will see tonight.

Right now there is a push, nationwide for something called “Common Core.” In its simplest terms Common Core is the idea that underneath all the educational opportunities and experiences a student gets, there are a set of fundamental skills and concepts that are essential to their success, no matter what field they ultimately go into.  Right now, those fundamentals are focused nationally on English, Math, and, to a large extent, technology.  From those stem all kinds of things. Science.  The Arts.  And more.

But the Arts integration can get tricky, and the world of education is changing.   This is a fact.  So why can’t the Arts change too?  The truth is that at the heart of pretty much everything CMAS and Theater do at Arcadia lies that simple truth.  We approach everything we do with the mindset of “Just how far can we push the limits of Arts education?  How ‘real world’ can we make this? 10 years from now, can this experience directly impact and help a student be gainfully employed in a field they love?”

Essentially, to us, it means that while you must maintain a strong appreciation for the past, the real goal is to create something new.  Something of your own.  In pretty much every educational theory model the idea of “creation” is always – always – the highest level of learning, and we always aim to give our students every opportunity to do just that: create something of their own.  Hence, we now have a student written musical.

The Process

How does a show like this happen?

Arcadia CMAS incorporates real world musicianship with songwriting, live audio production and recording studio skills. As an aspect of that process, each song you will here tonight was solely written by students, and many were released on the first two CDs available free through the CMAS website, www.ArcadiaCMAS.com.

Part of the curriculum for the Arcadia Theater program involves scriptwriting, and so in early January a group of writers sat down with an outline, access to songwriters, and began to tell a story.  At the core of this musical, beyond the spectacle and larger plot, is a story about very real teenagers.

In the process of creating this show the students used a number of current and advanced technologies – a hallmark of CTE - and many of those technologies are present in their application this evening.  From the recording studios in CMAS to the scriptwriting collaborations of the Theater students via online script writing and communication tools, to the set design, and a host of others, this show happened not just because the students wanted to do it, but because they received the training to actually make it happen.   The entire show had to be completely written in under 3 weeks in order to ensure there would be enough time to cast, build the set, execute the technical elements, and rehearse. 

Everything in this show came from the students. Everything. The music, the script, the design of the show tonight - costumes, props, even the fliers on the doors – all of it was created by students working together using professional equipment and industry standard practices, built using online technology and modern media, meeting cross curriculum goals and thinking at the creative level.

The notion that these students have worked hard simply does not even come close to describing what they have all put in to this production.


So now that this show is over, what's next?  Well, for starters we have several more CMAS shows coming up.   Then there is the vol. 4 CD  of our "Works in Progress" series to be released in May.  And there will be more shows like the one we did this weekend.  Even as this one was in production we were mapping out a way to do this as an annual event.  A totally original show every year.  beyond it being cool, the fact is that the clear educational opportunities this provided the students, honestly mandate we do it again.  More soon...

Practice, Perspective, Patience and Musical Intuition

One of the issues I've been facing as I have been developing my new live performance rig is the transition between it being mostly conceptual to being comfortable to actually use.  Never mind the fact that it's taken me more than 4 years of experimenting with what in retrospect is an absurd amount of gear, or the fact that much of the experimenting was slow due more to my lack of programming skills at the time, or the - I would like to think this is the biggest factor - fact that I could not really find anyone doing what I was trying to accomplish so there was no road map to follow.

The sense I had from the start - through all the trials and tests to finally get a working rig - was that  I was radically changing my entire approach to live performance in this process. Now, of course there is the very real possibility that the sense of epic change I felt was mostly self imposed and perhaps this is all no big deal, but for me it has been very real - self-imposed or not - and what that has meant is that I have had to delay and delay and delay doing actual shows.

This has been disappointing on a number of levels, but on the other hand there doesn't seem to be any point in presenting what could be an amazing musical moment to anyone until it's actually ready to be amazing.

As a songwriter I tend to think in the moment of the song.  Everything moves outward from there.  Get the song itself in place and the rest will come.  But translating that song to an audience requires practice.  And that practice can require a lot of patience - something I am generally not always that good at.  Plus my entire performance technique has had to change and - I'd like to think - evolve, as I have developed the new rig.

This has meant that every time I make a change for the betterment of the bigger picture concept I have had to reteach myself how to operate the rig.  Then as I go through that process if something is not doing what I need it to do, I have to stop the entire process and look for a solution before I can move on.  Many times this takes additional weeks of tinkering until I can get everything running right.  Till there is another bump in the road and then it starts over again.  To be fair I should admit that part of me enjoys the tinkering - even if it seem endless.  Anyway...

In a way all this "practicing" has been a bit disconcerting, but recently something has happened that took me out of my now "Songwriting" mentality and back to more fundamental musical experiences of my youth.  The rig now makes sense to me intuitively.   Perhaps this is an effect of my doing so much with it that my brain moves faster than it did before through the process, but whatever the reason I find that I "see" the rig differently now.  It feels more like an instrument unto itself rather than just a way to facilitate song performances.

It reminds me a lot of when I was first learning to, for example, play basic grooves on a drum kit.  At some point I did not have to consciously think any longer about the groove.  It just flowed out of me.  At that point I was able to just play.  In the moment.  Intuitively.  Musically.  It was very freeing and it set a kind of benchmark for all my future musical experiences.

Of course there is always more to learn and add to one's toolbox, but the concept of musical intuition as a part of performance (in all parts of the process: writing, recording, performing, producing) has always intrigued me.  The idea "Nothing Forced Endures" (thank you, Richard Beal!) comes to mind.

All that in mind, as you might expect, I cannot at this point say "it's done."  Funny, if not predictably, enough, as the rig has reached this point of ease-of-use, I am still awaiting the release of some new gear from a few companies to complete my current vision of how it will all work.    In fact in the photo you can kinda see a "blank" area that is reserved for this very reason.  Most significantly I am looking forward to the Keith McMillen QuNexus and the Electro Harmonix 8 Step Program.  Both are due this month.  And then let the fun begin!

I did create a very raw video on the concept a few weeks ago, for anyone interested.  It's more of a prototype here, as since filming I have swapped out the SL-20 for an Adrenalinn 3 and reworked the actual placement and wiring to be more cooperative, and numerous other changes, but the idea behind the rig should be clear regardless.

It's an exciting time.  Lots more coming! Gotta go practice now...

Where's My Album?

I hear this all the time from CMAS students (and others):  "Why should I buy a full album from an artist, when I can easily just download only the tracks I want?  Plus, it seems like most albums, even by my favorite artists are made up of a few tracks I like and the rest is all just filler."

It's a complex issue.  On one level, there is the notion that while there is so much out there, a lot of it is junk.  It's easy to get lost in the din.  On another level, there is the notion that it was not always that way and the market has allowed this kind of disposable quality to music (perhaps to all the arts?) that fosters this frequent "not so great but good enough" approach.  Another level to consider is that the entire purpose of an album has been lost, just generally, as an art form.  And there are others.  Many others.  

But my point here is not so much those concepts but something more fundamental: are we doing a disservice to the art of creating music by even allowing the option of a single song download from a wouldbe larger scale project?

The artistic purest in me says, immediately and without a moment's hesitation, YES!  The pragmatist in me, however, is not so sure. 

Here is the dilemma:  if art is a reflection of society, and society is moving in a more, albeit artistically stifling direction, does art that works to offset or even to change that movement actually reflect society accurately?

This is not just semantics. You cannot have it both ways.  Nor can you claim everything is done as a protest.  It's certainly a conceivable possibility but it's not likely to actually happen in reality.  Frankly, it's far too easy to make a bigger name for yourself and more money if you don't protest and if you get along. 

And that does't even address the factors that revolve around the rather, I think, sad fact that the manufacturers of much of todays music production tools have found that if they make things that allow pretty much anyone to just, at the push of a button, sound "real," they can make even more money, regardless of where we wanna call the results art or just exercises in technology as a crutch.  But that is another rant for another time.  Anyway...

Sure you might get very lucky and be at the nexus of a great redefining of music, but most of us will never be there, regardless of our intentions, skills or anything else that might be a factor.  And, sure, you can go your own road all you want in the name of artistic truth, but what if no one is there to hear you?  Even if you are right?  Even if your music is legitimately brilliant; but because you are all alone no one hears it?  Really, what if no one hears?  And yet another rant...

It's a confusing and multi layered problem.  One that does not just have a silver bullet solution.  

As I begin to reexamine my own musical priorities as I prepare to start recording some of the vast multitude of songs I been writing in the past many months  I wonder where I will end up on this issue.  Or if it even matters.

Maybe that's the real point of art.  Not to be a statement of anything other than of itself.  hmmmmmm…