Archive for the ‘Big Band Theory’ Category
Derrida’s Essay, “Sign and Play in the discourse of the ‘Human Sciences” is an introduction to the theory of Deconstruction, or a look at language and meaning as opposed to the object or thing language and meaning is used to describe. Deconstruction seems to center around the idea that language and meaning are often inadequate in trying to convey the message or idea a communicator is trying to express. Since the confusion stems from the language and not the object then one should break down or deconstruct the language to see if we can better understand where the confusion stems.
Derrida discusses his idea of “interpreting the interpretations,” through the ideas of an event, the structure of that event and the play of the elements of that make up the structure. The basic idea of deconstruction works. To really understand a thing, in this case language, one would need to break down what language is, how it works, why we adhere to that structure as our means of communications etc. The problem is that we use language to analyze language and I don’t think you can do that.
To effectively use deconstruction theory and apply it to language or the human sciences, one would have to create a new language. Math has its own language, made of signs and symbols and numbers, deconstruction needs its own language. The obvious problem with that idea is that a deconstructionist would say, you would need to break down that language to see if it is communicating effectively. However, I see that as a good place to start.
Another problem is that much of Derrida’s essay seems to be circular or contradictory. The idea of the center being inside and outside of a structure is senseless to me. Derrida doesn’t full explain his idea that a structure has a center but the totality of that structure has its center elsewhere (278) It is circular logic that doesn’t hold up. Also, Derrida spends much of the essay speaking on Levi-Strauss and his theories only to spend the latter half of the essay discrediting or finding contradiction in much of what Levi-Strauss had to say. The idea of the bricoleur and the engineer as it applies to language and lit theory in particular work for me.
Yet, after Derrida spends a great deal of time explaining those ideas he spends a great deal of time explaining why it doesn’t work, and why Levi-Strauss was off the mark in relying on the idea of the bricoleur and engineer or empiricism if you will, as a means to dissect language and theory. The question then becomes, “What does Derrida believe,” and leave not fully having the answer that to the question and also believing that Derrida is unsure of the answer to that question himself.
In the previous article (quite a while back), we discovered (hopefully) some of the ingredients necessary for an original band to operate as an AWARE organization.
One of our readers emailed us with question. He was a little confused because he has always?subscribed to the “keep your friends close, and your enemies closer” theory. This is a very good point that he raised. However, I’ll?attempt to explain why this particular theory is not appropriate, in application, for the original band scenario. In the end, it’s up to you to implement the system that you feel is the most appropriate for your original band and your career.
First, it’s very important for us to distinguish the difference between a Top-40 cover band and an original band (read part 1 of this series). In a Top-40 band, generally, every band in the country is playing the same material, the same chops, and the same types of clubs. If another band gets wind of your play list…who cares? What have you really lost? Answer: basically nothing. Whoopty-Doo, so what if a tune by Santana precedes a tune by Social Distortion? The material is already released by the ORIGINAL artist. The job of a Top-40 band is to simply cover what’s already been born. No harm, no foul.
I know…I know, there are thousands of Top-40 musicians who are saying “Wait a minute, we work hard on these cover tunes and sometimes give them our own feel in the arrangements”. Congratulations, that’s what a cover band does! However, can you imagine the enterprise and organization of the CREATOR artist of these wonderful songs; the ORIGINAL.
In Top-40 scenario, it’s OK to keep your friends close and your enemies closer. Why? How else would you know which clubs in the area are paying clubs? Or how else would you know the material that other cover bands are playing? You wouldn’t, except for “Johnny”, the talk-a-mile-per-minute guitar player (who works in a different band) who is a rival of yours.
The ORIGINAL band is completely different! I?suppose I should say, the SUCCESSFUL ORIGINAL BAND. The moment the word successful comes into play, it means one thing to me; employing everything necessary to WIN. This is where you must keep those outside of your first ripple (read previous article in this series for explanation of “ripple”.) at professional arms length. This, in no way, means that you’re a grumpy, closed off person or band, it simply means that you’re very, very smart.
A further explanation of “original band” is necessary at this point to further our vision of success in general.
There are basically two types of original bands. One is the band who has played covers for so long that they (the players) decide to write and play their own songs and play them for the locals. That’s right, the locals. They still have no focus on the national or international scene. They’re just fed up with the Top-40 scene and want to take a step beyond. Generally, they get their “fix” from the local audiences who validate them and their original material. But to what end? Hey, everyone knows that when a band goes original, the paying Top-40 clubs are done with you. The club owners are there to make money by selling drinks to audiences who want to dance to familiar songs. Hence, cover bands.
At least this type of original band had a sense of “calling” and they acted on it. Guaranteed, when they turned original, they had a sense of confidentiality. In other words, they didn’t want other local bands to hear their material until it was finished. The key word here is “UNTIL”. Their intent was (is) to surprise everyone (locally) with their material and “sound”. Once again, to what end? Even if there were hit songs involved, once played, the cat’s out of the bag. Further, there were (are) probably no formal copyrights involved, no collaboration agreements, no knowledge of publishing, record contracts, promotion, licensing, foreign publishing, distribution, or anything else that is reality in the “real world” of the music business.
Contrast this with the original band that has a professional plan and?is willing to execute it. They’ve researched the industry and have a pretty good idea what it takes to “make a living” on original material. They also understand that there is a good possibility that they will have to say “bye-bye” to their local comfort zone in order to become successful in a big way. Be careful what you ask for my friends, you just might get!
This then, is the difference between the two types of original bands. One, still has only local goals. The other has national and international goals. These national and international arenas are the very essence of what I’m attempting to convey to you. Survival and success (one in the same to me) at this level of originality dictates (demands) absolute knowledge of the industry and a much higher duty of professionalism. Not everyone has the guts to get on an airplane and tour for three or four months. Oh, I know, some will swear up and down that they do have the guts, but in reality they don’t. The point here is to protect yourself from the slow downs.
Examine the following scenario:
Original band #1: Someone asks the band if they can come to a rehearsal so they can hear the new songs. “Sure, come on in”, replies the band.
Original band #2: Someone asks the band if they come to a rehearsal so they can hear the new songs. “I apologize, we’d love to have you, however, we’re still in production with the material”.
OK…which original band is the SUCCESSFUL ORIGINAL BAND (even at this level)? Why? This is a form of professional arms length.
In this scenario, band #2 understands that they have very serious goals. They’re not about to reveal anything to anybody until it’s time. Ripples. It’s all about the ripples. Ripples will give you, the original artist, the best shot at IMPACT!
In an original setting, it is not wise to reveal your material, arrangements, and impact to anyone (except those in the first ripple). It’s best to let everyone HEAR the results on the radio. Once you can accomplish this, it’s harder for anyone, on the outside, to mess things up for you. It’s a mission.
Success? Easy! Make ORIGINAL pay off for yourself. How? Several different ways. We’ll cover many of them. Stay tuned for the next article in this series.
Until then, “Wake up Neo, the Matrix has you”. Follow the White Rabbit. Knock, knock”.
?2009 Michael E. Fletcher. All Rights Reserved Worldwide.
So you play guitar and think you would like to put together your own band. But you are not sure where to start. How do you go about finding qualified musicians? What kind of equipment should you bring to the table? Here are a couple of things to go over before you put that ad on Craigslist.
First and foremost evaluate honestly your own level of talent. If you are a two bit acoustic guitar player, then honestly admit it. Do not try and form a band around yourself that will hide your musical shortcomings. However, with that said, do not be afraid to step out and find some musicians that can complement you and your talents. You just need to have an honest evaluation. I have seen a lot of people who call themselves songwriters and have never picked up an instrument. Do not get me wrong. Bernie Taupin was a great lyricist and Elton John will forever be in debt to him. Did either need the other? I do not know. Just take stock of what you do and go from there. Honestly.
Now take a look at the equipment that you have. If you are a singer and you have your own material you can push that aspect of the deal. Just do not expect to find a drummer that carries around his own P.A. system. You need to personally have enough equipment to play a single. If you have your own sound system you can add players one at a time. And that is exactly what you want to do.
Start with a bass player. If you can find a bass player that can sing and you can strum around on an acoustic guitar, then you two need to get together and play as much as possible. When you have that part down and feel comfortable with each other, then add another piece. I believe the bass is the most important part for you to add first. Finding that one guy who fits a groove with you will go a long way in helping you find other musicians. Think about it. If you play acoustic guitar and search first for a drummer, the first one that comes over to your garage or basement and has no bass to play with is not going to take you very seriously.
Next find a lead guitar player. This is a key part. One that is pretty much going to make or break your enterprise. If you have the bass and rhythm down, have good vocals, and have original material all worked out you should be able to audition some good players. Be sure to look for the guy that plays simple parts. One who shows up and tries to impress you with every lick he ever learned on every song you play might not be the working part you are looking for. I like simple leads in most songs, leads that add to the over-all sound and I do not ever look for flash.
Now add the drummer. Why now? Because there is enough of a sound together that you can see what a drummer can really do. It is not fair to the drummer to be to add him, or her, any sooner. You need to look for a drummer that is simple and can play without a lot of junk. I say this in the same vein as the lead guitar. I would always start simple. People who play simple are listening to the other parts and are not so involved with overdoing their thing. This simple thing is a big deal.
Now start playing. If your sound needs other instruments then add them. I always went to a keyboard from here. Then some horns or a sax player seemed to just fill out the grove. The point is take honest stock. Then follow the system in the order I have laid out and you have a good chance of finding the right musicians.