GOT YOUR GUN YET? – American Rage In The Age Of Trayvon Martin

In 1981, there was 1 concealed weapon permit in Seminole County FL, where Trayvon Martin was killed. Today, there are 16,167. GOT YOUR GUN YET, from Volume 3 of the VAC Music Project, portrays an American landscape riddled with violence, fear laid bare in the shank and barrel of a broken democracy.

Got your gun yet
Cocked and ready
You’re gonna use it next chance you get
When you need to prove it like all the rest
AK-47 deaths today in the good ‘ol USA

Caught the fear yet
Is fear the gun
Chamber of your mind-set
You’re gonna use it when you need to prove it
Like all the rest
Got your gun yet
AK-47 deaths today in the good ‘ol USA

VAC MUSIC PROJECT – ‘Got Your Gun Yet?’

PRODUCED BY VENICE ARTS CLUB

Graphic Illustration by MR. FISH

THE GUNSHINE STATE



BLACK FRIDAY – Another Kid With A Gun

ANOTHER KID WITH A GUN is from VENICE ARTS CLUB MUSIC PROJECT, Volume 3. Features Michael Jost, Malia Luna, Spring Groove. Produced by VAC.

Cops in a frenzy shoot a man in the back at least 45 times
They said he had a gun – turns out they were lying
A witness to the crime took the mess to the internet
What kind of world do you want to live in, really?

Another kid with a gun…

VAC MUSIC – ‘Another Kid With A Gun’

 

Produced by VAC


WHAT REMAINS – Good Friday with Fell Music and the VAC

WHAT REMAINS is a song from FELL MUSIC, VOLUME ONE

Jesus was a Capricorn
Jesus didn’t live too long
Jesus was a radical
Jesus died in April, hanging…
Have you?

East of Eden, what remains
Long shadows…a void
And with the sun undone
The muse plays another
Song to the man on the hill
Mother Mary please comfort me I’m ill
My father, my god, what have you done
Mother Mary, where’s that light coming from?

FELL MUSIC – ‘What Remains’


FORGET THE HATE – A Vietnam Veteran Comes Out Singing

On my FB page this morning was a link to FORGET THE HATE, a song and video by Vietnam Veteran, Tom Mooney.  I listened and felt the short hairs rise. If you follow the VAC then you know how music and song with a focus on social commentary is a way of life around here.  VAC projects like the New White Trash (with uber-activist, Michael C. Ruppert), Fell Music, The Cheeters and the VAC Music Project all interject themselves with interpretative commentary relative to issues of social justice, equal rights and the essential elements of image-rich truth-telling.

TOM MOONEY earned the title of American Hero for his service as an Army soldier in Vietnam. Hesh Rephun at RAGING ARTIST details Mooney’s Vietnam experience and how the album containing ‘Forget The Hate’ came to be called, #10 GI. According to Mooney, “When my son, who’s a Marine, came home safe, I knew it was time to make this album. I’ve been writing this song for over 40 years.”

I’ve known Tom Mooney for 15 of those 40 years. His career in the commercial production/ad business is legendary. So is his charm and his whip-smart persona.  Our paths have crossed frequently, having worked together on international film projects from Los Angeles and New York to Paris and Prague. A minute into our very first meeting those many years ago, Tom said to me, without asking, “You’re a musician…”  I said I was, and he then told me about his early exploits in music, playing drums and guitar up and down the east coast.

That’s one reason why hearing Forget The Hate this morning left me feeling almost giddy. Mooney’s passion, his playing and singing, drives this song into territorial high ground, a place reserved for those who have seen and now have no choice but to speak out about what they have witnessed and what they know to be true. Listening and watching Forget The Hate is an enlightening experience. The energy in Forget The Hate is exactly what I would expect from Tom Mooney – fast, furious, unsinkable. This song, this music, this Tom Mooney is the real deal.

Read the full Raging Artist article by Hesh Rephun here. 100% of the profits from the single will go to support our troops and veterans.  Info will be posted on Tom Mooney’s Forget The Hate Facebook page. Right on Tom Mooney – You ROCK!

Doug Lewis
April 5, 2012

TOM MOONEY – ‘Forget The Hate’ – Song on Bandcamp

TOM MOONEY – ‘Forget The Hate’ / Video onYou Tube

TOM MOONEY


FAKE ENLIGHTENMENT – James Mathers and the VAC Music Project

*****

Venice Arts Club member JAMES MATHERS and VAC founder DOUG LEWIS collaborated on FAKE ENLIGHTENMENT with video/graphics editor CIA MAC. 66 illustrations for Fake Enlightenment were created by Mathers during the production and recording of the companion song. Fake Enlightenment appears on Volume 1 (of 8 volumes) of the Venice Arts Club Music project.  Album art for VAC v.1 by Jamie Cohen. Video below the lyrical fold.

Higher senses, other worlds
Hidden dimensions, flying squirrels
What are the qualities of the expanded state
And who said enlightenment is so fricking great

Fake Enlightenment, now only 6.66
Fake enlightenment

Who’s a slave, and who is free
And who don’t lose their crystal key
What’s your means or what’s your method
Hold your breath until you turn blue

How close can you get to the real fake thing
How close can you get to the real fake thing
Before it’s all too true

Throughout all time radiant beings have come
To show us how it’s done
Sometimes we kill them but that’s ok
Another one is born a hundred times a day

Who said enlightenment is so fricking great
Who said enlightenment is so fricking great

You may already be a winner…

FAKE ENLIGHTENMENT – VIDEO

JAMES MATHERS IN IRELAND – Conceived and cast bell for Maria Guinness

FAKE ENLIGHTENMENT – James Mathers storyboard images, oil chalk on black resolution paper

VENICE ARTS CLUB MUSIC PROJECT – Volume 1

PRODUCED BY VAC


ALDEN ART – This Modern Life: Poetry and Image of Alden Marin

Venice Arts Club member ALDEN MARIN is a Los Angeles based artist – a poet, painter and musician who uses ‘remnants found’ to create his art. Marin is a weaver of ideas and tactical substance to form an artistic chronology of his day to day. His music provides enlightened depth to his dimension.
******
THIS MODERN LIFE
You can say
what you want
about my fickle nature
indecisiveness
and uncertainty
about arrival dates
and departure times–
modes of payment,
credit lines;
whether to go with
day’s initial greyness–
or eventual sunshine;
Being enthralled
by birdsong outside
or irritated, in turns
by the same voices–
Hard to concentrate
in this modern life
with so much transpiring
on screens, phones
wireless devices
modes of communication
seen & unseen–owned
or in the frame
of acquisition mode–
everything ringing
with respective needs
And as many opinions
trying to register beliefs…
You can say what you want
about my actions and moods
and it’s probably true, but
I may or may not
agree with you.
ALDEN MARIN – Asparagus
ALDEN MARIN MUSIC – Fade To Blue

CRUDLAND – Jamie Cohen Art and Fixture

CRUDLAND is a manifesto booklet created by Venice CA artist  JAMIE COHEN (1953-2008). In a series of stark collages, Cohen tells the story of a world gone mad with signage, branding, innuendo and immersion into a culture of advertising and excess.  The Crudland manifesto could be understood as Cohen’s ground of being in that all his later work in sculpture, painting, drawing, writing and song could be traced back to Crudland. The theme of Crudland also served as inspiration for the first release from the FELL MUSIC project, appropriately titled, Crudland.  In 1997, Cohen and Fell Music founder Doug Lewis collaborated with L.A. photographer Patricia De La Rosa on a series of photography portraits using the original Cohen sculpture series as the basis for what would become album art for the Fell Music/Crudland project. It is possible that the original Crudland manifesto booklet still exists.  What we do have are the original images taken by De La Rossa of the Jamie Cohen sculpture series known as Crudland.

JAMIE COHEN – Ball with Hat

JAMIE COHEN – Clown

JAMIE COHEN – Bulleted Heart

JAMIE COHEN – Finger This

JAMIE COHEN – Under Lock and Key

JAMIE COHEN – Dogscape

JAMIE COHEN – Colossus of Crudland

JAMIE COHEN – Crudland Man

JAMIE COHEN

DOUG LEWIS, JAMIE COHEN

FELL MUSIC COLLECTION


AMERICAN LITE – Music of the Post-Paradigm

From FELL MUSIC, Volume One. Recorded at Lotek Studios, Venice CA. The saga of AMERICAN LITE is perfectly illustrated by this piece of wall-art.  Scroll down for video.

AMERICAN LITE

Ready or not, here we go
On demand, the future’s here
On the money, we’re right on track
Are you ready for years of fear

God, Country, War, Money
Burn down the barn to kill off the rat
Accident, incident, another loose coincidence
Throw out the baby to save the bath

Like it or not, all aboard
Men in suits meet the sailor’s whore
There’s a lizard with a slithering tongue
His friend the snake is from the uppermost rung

They’re salivating, waiting in line
For their turn with the whore divine
Torch burning bright, she pays the rent
The blinds are drawn for money well spent

Good news, it’s fair to say
Future’s here where the road gives way
In the fog a sign illuminates
Red light flashing in the night

Return your seatback to the upright position
Fasten your belt for the head on collision
Go ahead and scream but please don’t make a sound
This Friday fish dinner looks like bloody ground round

Grab some bread and run for cover cries a warning
Could be a nasty change coming like a hurricane
Captain and the First Mate staring out across the wake
Of an angry sea
Passengers are getting worried, looking out beyond the break
Not sure what they see

Between the devil and the deep blue sea

FELL MUSIC – American Lite

FELL MUSIC COLLECTION
 

GOTH GIRL – Jamie Cohen and The Cheeters

GOTH GIRL is from LIES IN HIGH FIDELITY, Volume 1 of THE CHEETERS (Dietrich Von Bone, Klaus Kertz, Gunter Vile).

Goth girl sports a new tattoo
Black ink from a painful tool
That girl chain drinks through her high-jinx
It’s the only thing that funk can do
Plays her upright bass in a parking space
While your car is broken into
And your heart is broken in two

What the funk does it matter

Goth girl jokes but it’s no laughing matter
Turns you on then turns on you

What the funk does it matter

  THE CHEETERS – Lies In High Fidelity

 GOTH GIRL

 THE CHEETERS – Klaus Kertz, Gunter Vile, Dietrich Von Bone


LIES IN HIGH FIDELITY – “Only The Dead Have Seen The End Of War”

“Only the dead have seen the end of war,” a quote from George Santayana, reflects the message of LIES IN HIGH FIDELITY, a song from THE CHEETERS debut album of the same name. The Cheeters are Gunter Vile, Dietrich Von Bone (aka Jamie Cohen), and Andy Kravitz (Klaus Kurtz).

Another day been broken
Asylum doors are open
Everybody’s gone, the lunatics have all moved on
Their plan is up and running, sell the 2nd coming
Mirror, smoke and ashes
Sell it to the masses
Lies in high fidelity
Being broadcast on your TV

You can smell it in the air
Taste it everywhere
Crimes have been committed
War for them is big money business
Their plan is up and running
Sell the 2nd coming
Mirror, smoke and ashes
Sell it to the masses
Lies in high fidelity
Being broadcast on your TV


FIRST DAY ON THE JOB – Get Yourself A Coffee

From LIES IN HIGH FIDELITY, the first of 3 volumes from THE CHEETERS, a rock & roll music project featuring Gunter Vile, Dietrich Von Bone (aka Jamie Cohen) and Klaus Kurtz (aka Andy Kravitz). FIRST DAY ON THE JOB tells the story of diving deep into the steno pool, working long hours, getting home after dark. Produced by The Cheeters and the VAC.

Features Dietrich Von Bone on vocals.

First day on the job, so what do you say
Must do it for love cause it can’t be the pay
Think you’re saving up for a rainy day?
Your nest egg may be golden but the sky is steel gray
Get yourself a coffee and put that umbrella away

First day on the job

The income is nil and the wages are cruel
You feel more helpless than when you were at school
Now you take a nosedive in the steno pool

No time for a lunch break
Join the rat race
Get home after dark

THE CHEETERS, V1, LIES IN HIGH FIDELITY

 THE CHEETERS
KLAUS KURTZ,DIETRICH VON BONE,GUNTER VILE

CHEETERS MUSIC


PUMPING OIL – By Degree with the VAC

From Volume 3 of Venice Arts Club Music, BY DEGREE is a song about the lust for oil and how the center, soulfully speaking, cannot hold. Features Kristan Vigard/Doug Lewis. Produced by VAC.

BY DEGREE
Someone say the right thing
Tell these people we don’t mean no harm
We only want the oil
Only want what we’ve come here for

Someone do the right thing
We need a middleman, a go-between
To bargain for the riches
That’s what we’re looking for

Someone make sure everything’s alright
Someone make sure everything’s alright
Everything’s alright

Some bargain-basement for my soul
Some bargain-basement for my soul
No way this weight can hold
No way

PUMPING OIL – Jamie Cohen, pencil on 90 bright copy paper

VAC, VOLUME 3

KRISTAN VIGARD

 PUMPING OIL. Doug Lewis, photo by Knights Bridge for RefugeZine


MUSIC OF THE POST-PARADIGM: Running With the New White Trash

From the Nightclub At The End Of The World, Michael C. Ruppert’s LIFEBOAT HOUR on PROGRESSIVE RADIO NETWORK, Sunday, March 25, 2012.

Each week on the Lifeboat Hour, host Michael C. Ruppert plays a song from a place known as the Nightclub At The End Of The World.  The song of the week for March 25, 2012 is RUNNING WITH THE NEW WHITE TRASH from DOUBLEWIDE, the 37 song, 2-CD debut release from the NEW WHITE TRASH, a Venice CA music project founded by Ruppert, Wade De Void, Andy Kravitz, Kristen Vigard and others. Since its January 11, 2011 release, Doublewide has attracted a worldwide audience, evident in album sales to nearly every corner of the globe – Australia, South Korea, Japan, Canada, India, Egypt, Ukraine, Israel, Turkey, the countries of Africa and Europe, and throughout the Americas. The music of NWT is played at Occupy rallies, on the crumbling steps of city halls and on the angry streets of towns and cities across the USA.

From the NWT manifesto:

The New White Trash (NWT) demographic is the outcome of the former middle class being folded in with the working poor and, for good measure, the unemployed and uninsured.  The NWT defines and represents a majority of people whose common bond includes and exists beyond the demographics of age, race, location, education. The people of the NWT are the new ‘have-not’s’, and by its nature and size, this vast swath of population (99%) is now squarely at odds with the 1% who own, operate and dispense our corporate universe, big pharma, big food, big oil, big defense and big government included. ‘By the people for the people’ is receding.

The Post-Paradigm Era describes the vacuum left by the sudden disappearance of the former American middle class.  It is in this vacuum we now find ourselves, tumbling in turmoil as home losses mount, bank balances shrink, and shelters are jammed with the likes of you and I. The good old days are done and dusted. That party is over. The coming chaos of the post-paradigm era will lead to a radical and immediate rethinking and remaking of America or it will lead us to complete devastation.

THE MUSIC OF THE NEW WHITE TRASH

As Woody Guthrie filled a musical vacuum by acknowledging the pain and the suffering of the Great Depression, the New White Trash fills a bigger and more insidious vacuum left by a rampant, programmed consumerism that serves only corporations and their shareholders. 

This is a new breed of American music in which the message is clear: You’re f**ked.  But now what?  

NWT portrays a post-paradigm, ‘less beautiful’ America, brought to life through music, media, theatre and message – those of, love,need and a desire for social justice. ‘Drop it down’, ‘don’t dig too deep’, ‘we charge extra for this’, ‘take these’, ‘we can’t escape from’, all are the language of the NWT.  And for good reason.

If you got no credit and you got no cash, you’re NWT.  If you got more going out than you got coming in, you’re NWT. If your 401k is MIA, if you’ve filed for bankruptcy, if you find yourself living in a trailer or back with your parents, if your unemployment has run out, if your roads have holes and local schools are closing, if you lost your health insurance to a pre-existing condition, you are the NWT. If you bought the hype and borrowed on a dream,and now your house is gone and you’re selling your things, you’re the NWT. If you’re pissed off, yet you keep a sliver of love in your crossed heart and at least a post-ironic smile on your lips, you’re NWT. If what you had is gone – just like that – then you know you’re running with the New White Trash.

The NWT offers what popular music does not: it recognizes and acknowledges all those who are being marginalized and dropping off the radar screens of “official” life. It is not all depressing. In fact, the NWT celebrates the joys, simple pleasures and love that are often re-discovered only in the darkest times.

DOUBLEWIDE is available as a digital download, as a physical 2-disc package, and as a sponsorship edition. Produced by the VAC.

THE NEW WHITE TRASH – Running With The New White Trash


GOT YOUR GUN YET? – The Tragedy of Trayvon Martin

Got Your Gun Yet, from VENICE ARTS CLUB MUSIC, VOL.3.  In memory of Trayvon Martin.


POETRY IS RUINS – Soundtrack Instrumentals from Gunter Vile

The music of GUNTER VILE’S  Poeetry Is Ruins is described by Vile as a ‘instrumental soundtrack for a imagined film’. Vile, formerly of the CHEETERS, returned to Venice and to the VAC to record Poetry Is Ruins.

GUNTER VILE – Poetry Is Ruins.  Image/Cara Tompkins.

Produced by VAC


MUSIC OF THE POST-PARADIGM: American Spring 2012

THE AMERICAN SPRING OF 2012

Liberty hangs in the balance at every moment, never still and always moving to maintain a footing. A nation at a crossroads has historically proven to be a less than pretty sight.  The 21st Century, arriving with the epic and viceral collapse known as 911, has continued a tidal wave of collapse trajectory through the first decade and now, in the year 2012, is taking hold. In America lines have been drawn and distinctions have been made.  Those few with most are drawing their battle plans, hording their riches and seeking to influence those who can change the law do change the law in favor of limitations that restrict democracy, freedom and liberty.  Meanwhile, the many with little have little.  But they do have a name.  They are the 99%.

We are the 99%.

We are men, women, children.  We are doctors, housewives, janitors, war veterans.  We are artists, poets and car mechanics.  We are ranchers, farmers and schoolteachers.  We are mothers, fathers and grandparents. We are journalists, watchkeepers. We are the anonymous and the known. We are everyone, everywhere. We are in America. We are in France and Spain and throughout Europe.  We are in all countries of Africa.  We are the people of Iran, Iraq, Syria, Egypt, Palestine, Israel. We are in Australia, Brazil, Chile, Hungary, the U.K. We are in every city of every state of every country and we are of every nation. We are the 99%.

The 99% understand how the concept of infinite growth has come and gone, the paradigm exhausted. One is reminded of the only graph used by Michael C. Ruppert in his speeches on Collapse to illustrate the dramatic spike in world population, a trajectory in line with its main and finite ingredient and catalyst, oil. Burn-off from the era of petroleum man is collapsing our ecosystem.

Now on the streets and in the neighborhoods and cities of America we are headed into spring followed by the long, hot days of summer. Crimes are being committed, liberties are being removed and there is a giant contraction taking place fueled by the greed, fear and the arrogance of the few.

Do not go back to sleep.

THE NIGHTCLUB AT THE END OF THE WORLD (NEW)

NEW is a space conceived by Michael C. Ruppert from the cabin of his Lifeboat Hour, a weekly radio show hosted by Ruppert and aired by Progressive Radio Network, Sunday at 9p Eastern. Ruppert points out how NEW and the Lifeboat Hour is not all bad news, that it is an original mix of music with madness, laughter with loss, skills with sorrow, community with calamity, love with grief, and joy in the moment.

Musically speaking, Ruppert is fond of playing cuts from a Venice, CA music project called the New White Trash (NWT), of which Ruppert is a founding member with Wade De Void, Andy Kravitz and others. The theme of the NWT is ‘Music of the Post-Paradigm’. The NWT manifesto reads like this:

Mining a new groove, and with a kind of rough grace, DOUBLEWIDE, the 37 song, 2 CD set from the NEW WHITE TRASH, chronicles the slide of the former American middle-class down a steep and slippery slope to the New White Trash, a place impartial to race, religion, creed or color.

The New White Trash (NWT) demographic is the outcome of the former middle class being folded in with the working poor and, for good measure, the unemployed and uninsured.  The NWT defines and represents a majority of people whose common bond includes and exists beyond the demographics of age, race, location, education. The people of the NWT are the new ‘have-not’s’, and by its nature and size, this vast swath of population (99%) is now squarely at odds with the 1% who own, operate and dispense our corporate universe, big pharma, big food, big oil, big defense and big government included. ‘By the people for the people’ is receding.

The Post-Paradigm Era describes the vacuum left by the sudden disappearance of the former American middle class.  It is in this vacuum we now find ourselves, tumbling in turmoil as home losses mount, bank balances shrink, and shelters are jammed with the likes of you and I. The good old days are done and dusted. That party is over. The coming chaos of the post-paradigm era will lead to a radical and immediate rethinking and remaking of America or it will lead us to complete devastation.

As Woody Guthrie filled a musical vacuum by acknowledging the pain and the suffering of the Great Depression, the New White Trash fills a bigger and more insidious vacuum left by a rampant, programmed consumerism that serves only corporations and their shareholders. 

This is a new breed of American music in which the message is clear: You’re f**ked.  But now what?  

NWT portrays a post-paradigm, ‘less beautiful’ America, brought to life through music, media, theatre and message – those of, love,need and a desire for social justice. ‘Drop it down’, ‘don’t dig too deep’, ‘we charge extra for this’, ‘take these’, ‘we can’t escape from’, all are the language of the NWT.  And for good reason.

If you got no credit and you got no cash, you’re NWT.  If you got more going out than you got coming in, you’re NWT. If your 401k is MIA, if you’ve filed for bankruptcy, if you find yourself living in a trailer or back with your parents, if your unemployment has run out, if your roads have holes and local schools are closing, if you lost your health insurance to a pre-existing condition, you are the NWT. If you bought the hype and borrowed on a dream,and now your house is gone and you’re selling your things, you’re the NWT. If you’re pissed off, yet you keep a sliver of love in your crossed heart and at least a post-ironic smile on your lips, you’re NWT. If what you had is gone – just like that – then you know you’re running with the New White Trash.

 The NWT offers what popular music does not: it recognizes and acknowledges all those who are being marginalized and dropping off the radar screens of “official” life. It is not all depressing. In fact, the NWT celebrates the joys, simple pleasures and love that are often re-discovered only in the darkest times.

NWT was produced by and at the Venice Arts Club. Other music produced by VAC promotes a similar tune and travels a road populated with the familiar themes of the Lifeboat Hour and the NEW. The VAC supports Ruppert’s effort for truth and social justice and gives a nod to his journey and his vision by presenting a gathering of relevant songs from our collection. Thanks for tuning in.

THE NEW WHITE TRASH – ‘It Would Be Strange’

NEW WHITE TRASH – ‘Running With The New White Trash’

FELL MUSIC – ‘Dangerous Ground

FELL MUSIC – ‘American Lite’

FELL MUSIC – ‘Somewhere South’

THE CHEETERS – ‘Bombshell Breakup’


WAR CREEP – Fell Music

WAR CREEP, from FELL MUSIC, volume 2  features the Venice Children’s Choir. Recorded 2002, Venice CA.

There’s a high noon hanging
Cop in a frenzy to get his first kill
Where the two worlds meet
Cop shoots an innocent boy then a go-go-girl
Inside the War Zone
TV’s on – Guns are blaring
On every channel – violence glaring
Lines are drawn – Eternal war
In the name of God – signed in blood

Wags his gun
Kid turns to run
All is war through eyes of war
For the man in the uniform
From Baghdad to Marathon
A noise on the radio
That little voice in the back of your head
Don’t take your eye off the man in the uniform
Don’t take your gaze off the man…

PARTY LINE – Jamie Cohen collage

FELL MUSIC – related content


BACK ROAD – Mike Ruppert and New White Trash at Venice Arts Club

Mike Ruppert’s song of the week on the Lifeboat Hour for Sunday, March 18, 2012, is BACK ROAD from DOUBLEWIDE, the debut release from the NEW WHITE TRASH, a music project Ruppert founded with Wade De Void and Andy Kravitz.  Other members include Cara Tompkins, Kristen Vigard, Malia Luna, James Mathers, Michael Jost, Robit Hairman, Phil Maggini. The 37 song 2-CD collection was recorded at the VAC and mastered by Bob Rice. NWT producer Doug Lewis says this about Back Road: “I liked it immediately and was surprised by the strength of Mike’s performance and how he poured himself into the music. I kept thinking, ‘Meatloaf, Bat Out Of Hell’! And Back Road fit a theme of the NWT which is ‘where the heart is’ as opposed to the apparently more immediate themes of Meltdown, or Running With The New White Trash, or Realize The Lie of war. Back Road is a cousin song to Wherever There, One Good Reason and Trailer Light On, and maybe a couple more.”

In introducing the song Ruppert mentions how a musician friend, Jim Sullins, sent him a hummed hint of a melody over the piano track.  From that Ruppert fashioned Back Road.

MICHAEL RUPPERT @ VAC

NEW WHITE TRASH.com

NEW WHITE TRASH. music


LIBERTY DENIED – Music and Social Commentary in the Post-Paradigm Era

another sleazy politician/the latest in a long line
another fat cat in the wings/another fast-track thing
and then another lie to take back/another decade set-back
wake up to the news – it’s all up to you/it comes down to you
from RIGHTAWAY – FellMusic THREE

The song LIBERTY from Volume 3 of the Venice Arts Club Music Project provides narrative and gives voice to a sullen Statue of Liberty while describing the American ground of being at the onset of the post-911/post-paradigm era. Garcia Lorca’s monologue in the final minute of LIberty illustrates a hunger for the truth that America could be, but has yet to achieve.


REALIZE THE LIE – Music of the Post-Paradigm with the New White Trash

DOUBLEWIDE, the 37 song, 2-CD debut album from the New White Trash, chronicles the slide of the former American middle-class down a steep and slippery slope to the New White Trash, a place impartial to race, religion, creed or color. Dubbed, ‘music of the post-paradigm’, NWT members include Wade De Void, Michael C. Ruppert, Andy Kravitz, Kristen Vigard, Robit Hairman, Phil Maggini, Malia Luna, Cara Tompkins, Michele McVicar, Michael Jost.

About the New White Trash and the Post-Paradigm era:

“The New White Trash (NWT) demographic is the outcome of the former middle class being folded in with the working poor and, for good measure, the unemployed and uninsured.  The NWT defines and represents a majority of people whose common bond includes and exists beyond the demographics of age, race, location, education. The people of the NWT are the new ‘have-not’s’, and by its nature and size, this vast swath of population (99%) is now squarely at odds with the 1% who own, operate and dispense our corporate universe, big pharma, big food, big oil, big defense and big government included. ‘By the people for the people’ is receding. The Post-Paradigm Era describes the vacuum left by the sudden disappearance of the former American middle class.  It is in this vacuum we now find ourselves, tumbling in turmoil as home losses mount, bank balances shrink, and shelters are jammed with the likes of you and I. The good old days are done and dusted. That party is over. The coming chaos of the post-paradigm era will lead to a radical and immediate rethinking and remaking of America or it will lead us to complete devastation.” (from NWT Manifesto/VAC.com)

The durge-like quality of REALIZE THE LIE underscores the message: Running with the dogs of war/We’ve run this race before/It’s rotten to the core/When only War can save you – Realize The Lie

Realize The Lie features Wade De Void, Michael Ruppert, Kristen Vigard, Cara Tompkins, Malia Luna, Michele McVicar. Produced by the VAC. Mastered by Bob Rice.

NEW WHITE TRASH, ‘MUSIC OF THE POST-PARADIGM’. Artwork/Cara Tompkins@EWC

NEW WHITE TRASH – DOUBLEWIDE. Artwork/Cara Tompkins@EWC

 NEW WHITE TRASH HEADQUARTERS, VENICE CA USA. Image/Cara Tompkins@EWC


THE NEW WHITE TRASH – From ‘Dangerous Ground’ to ‘Doublewide’

In 1997, a decade before a fortuitous meeting between Michael C. Ruppert and Venice musician Doug Lewis in the spring of 2008, Lewis was busy recording his on-going Fell Music project. The meeting of Ruppert and Lewis would lead to the forming of the New White Trash and the making of their debut album, Doublewide, a 37 song double-disc set chronicling the slide of the former middle class down a ‘steep and slippery slope to the new white trash, a place and genre impartial to race, creed or color’. Doublewide was released January 11, 2011 and has since found a home with a worldwide audience of truth seekers investing in alternative and conscious voices to match the signs of the times. One song from Doublewide, titled We Can’t Escape From found its way onto the soundtrack of the DVD release of Collapse the Movie, directed by documentary filmmaker Chris Smith and featuring Michael Ruppert as the only character in the film. Roger Ebert said this of the film: “I don’t know when I’ve seen a thriller more frightening. I couldn’t tear my eyes from the screen. “Collapse” is even entertaining, in a macabre sense. I think you owe it to yourself to see it. ”

Some people meet over drinks; Ruppert and Lewis met at a dog park adjacent to the Santa Monica airport near Venice, CA. In an excerpt taken from the article ‘Grooving With The Archetypes‘, a piece about the VAC written by Bud Theisen, Lewis says, “Mike and I met at the local dog park, our dogs got on very well and so did we. I gave Mike a copy of the Cheeters first CD and he loved it. He gave me a copy of Crossing The Rubicon, which I devoured.”  Lewis, always on the prowl for new musical talent, took an interest in Ruppert’s desire to play and record music. “I made him work for it,” says Lewis. “I pushed him pretty hard and he didn’t fold. In fact, he blossomed. Mike is a great teacher about what he knows, and a terrific  student when it comes to learning new skills.”

For Ruppert, those new skills included learning how to work the microphone while developing a more ‘left brain’ approach to writing, away from the factual reporting of his day to day and into a more sublime world of the trans-poetic, lyrical experience.  In a word…storytelling. Fortunately for Ruppert, Lewis had been mining this ground for decades, with themes and songs of cautionary tales to do with protest, eternal war, with revealing commentary swiped against a background extending from Vietnam to the big bomb.

For Lewis and Ruppert, there were no issues in reaching common ground in the recording studio. With their two sensibilities cut from the same desire to formulate words into the action of social commentary by speaking out through popular song, Lewis and Ruppert, along with Andy Kravitz, Kristen Vigard, Cara Tompkins, James Mathers, Malia Luna, and a host of others, poured their time and energies into recording their collaborations for what would become Doublewide.

Could two people be more different?  Lewis – tall, lanky, whip-smart with movie-star looks (think Willem DeFoe meets Chet Baker) and more rock and roll attitude than most rock & rollers vs Ruppert – a former LAPD cop who looks like he could be Wilford Brimley’s kid brother. Yet, for Lewis, meeting and recording with Ruppert had a reassuring effect. “Mike and my sensibilities are perfectly aligned. I’d been working this ground a long time, steering each of my collaborative projects into a direction of relevance, refining the message, speaking out. Working with Mike was a breath of fresh air. Between us, we hit a groove and didn’t waver”

Dangerous Ground‘ from Lewis’ Fell Music project was recorded in 1997 at Arthur Barrow’s Lotek Studios in Mar Vista. The message is familiar, the imagery informed and the lineage apparent from the Dangerous Ground to Doublewide.

Mark Baer, President, Museum of Monterey and Managing Director of SmartChannel.TV
March 2012

DANGEROUS GROUND video from FELL MUSIC TWO
THE FELL MUSIC PROJECT
DOUBLEWIDE from THE NEW WHITE TRASH. Artwork/Cara Tompkins
THE NEW WHITE TRASH. Artwork/Cara Tompkins
MICHAEL C. RUPPERT and DOUG LEWIS. Image/Cara Tompkins
RUPPERT/LEWIS at the VENICE ARTS CLUB. Image/Cara Tompkins

PARALYZE ME – Mainstream Media And The Lies We Choose

PARALYZE ME, a song from Volume 3 of the VENICE ARTS CLUB MUSIC PROJECT, features Wade De Void and Malia Luna. Produced by Doug Lewis.

More of the same here/TV man is acting strange/Prime time in the evening/The host is screaming/His propaganda reeling/Stacked up to the ceiling/Paralyze me/Don’t paralyze me

MALIA LUNA

WADE DE VOID


K-MART SHOPPERS – James Mathers and the VAC Music Project

James Mathers makes numerous appearances throughout the 8 Volume Venice Arts Club Music project.  K-MART SHOPPERS is a song written by Mathers and VAC producer Doug Lewis.

From VENICE ARTS CLUB MUSIC, VOLUME 1

JAMES & LUNA MAGIC MATHERS

VENICE ARTS CLUB MUSIC PROJECT, VOLUME 1


ANOTHER KID WITH A GUN – Music & Social Commentary in the Post-Paradigm Era

Music as narrative, social commentary, and as a voice and act of protest threads a particular path through the American cultural and political experience.  Venice Arts Club promotes recording artists who use music and song as tools of recognition, and who forge rebellion and revolution through song lyric, rhythm, and melody.

The tone of much of FELL MUSIC is apparent by song title, including War Eternal, More War Now, Dangerous Ground, American Lite, Big Bird Over Baghdad, Made In The USA, Frontline.

Likewise, THE CHEETERS, a rock and roll ‘art band’, covers similar ground with Lies In High Fidelity, Baton Rouge, Bombshell Breakup, and Bring Me The News.

The NEW WHITE TRASH, a music project produced by Venice Arts Club, and whose members include activist Michael C. Ruppert, musician Wade De Void, grammy-nominated Andy Kravitz, and recording artist Kristen Vigard, released DOUBLEWIDE, a 2-disc, 37 song collection of ‘music of the post-paradigm’. Tracks highlighting such a paradigm are Running With The New White Trash, Don’t Dig Too Deep, Meltdown, Running On Rumor, to name a few.

Likewise, the 8 volume Venice Arts Club Music Project includes By Degree, Appointment In Samarra, Liberty, Got Your Gun Yet, Paralyze Me, No Love In Haiti, and Another Kid With A Gun, a song featuring VAC regulars Michael Jost, Spring Groove, Malia Luna, Michael C. Ruppert, Doug Lewis.

Check out this video for Another Kid With A Gun:


THE CHEETERS – It’s Only Rock and Roll But You’ll Like It

THE CHEETERS, DOUG LEWIS (aka Gunter Vile), JAMIE COHEN (Dietrich Von Bone) and ANDY KRAVITZ (Klaus Kurtz)are an art band – their music is an art project. The Cheeters were not built to last, they were about a go for broke moment – They went deep and deeper still – Buddha was in the back seat and Bacchus was at the wheel. The Cheeters are an urgent confession, an uncompromising creative explosion marked by intelligence in the tradition of Captain Beefheart, Rage Against the Machine, and Nick Cave. The music is solid, inspired but it is the subtle lyrics, the sophisticated imagery and the complex multi-textured sound mix that is the band’s trademark. There is humor and passion and the pure joy of invention in this music and the Cheeters always tell the truth and never pull their punches. This is music made by men, not boys, and the stories are of lived lives, not fantasies, told by guys that got laid, not guys wishing they got laid. What strikes one about listening to the Cheeters is how present they are, how in the zeitgeist, giving you the newest news, the latest edition. They embraced randomness and found objects. What does that mean? I get a call from Lewis, car noise, clanking beer cans, he’s somewhere in Santa Fe, “Hey man, we just met this chick in a 7-11 while stopping for cigarettes and she says she can sing. We’re headed back to the studio now.” There was no master plan. They were on a wild ride, totally dedicated to the realm of the magical and committed and it was all holy. It was dangerous, probably crazy and they were on a grand high, a high stakes transcendent journey reduced to a four box set. That is how the dust settles on angels with outstretched wings. Lewis and Cohen had a shared sensibility that went back over twenty five years. They wrote together and emerged as one voice. They knew how to tread in darkness, they knew how to mine the madness and they knew the poetry of lust and outrage. Doug Lewis is a master of the crooked phrase, a knowing wit and a musical sensibility informed by the bands of his psychedelic Marin County youth such as Tower of Power and the Sons of Champlin. Cohen was also a consummate wordsmith, steeped in the blues and in the dada-surrealist sensibility. Listen to the Cheeters and you will hear echoes of absurdist poet, Tristian Tzara, as well as Kurt Weil and Bertolt Brecht. Weil & Brecht. Lewis & Cohen. If they met they’d share respect. Andy Kravitz, a two time Grammy winning producer, mixer, writer, engineer, and drummer was their soul brother, the catalytic third element and the maestro of the secret sauce. The Cheeters are about love, beauty, the ambiguous ephemeral, life, death and sex. It’s not only rock and roll but you’ll like it.  M.D. Baer/July 4, 2009