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
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
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
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
JAMES MATHERS DECODED – Storyboard scenes from the animated short film, ‘The Parking Lot At The Center Of Time’Posted: March 17, 2012
No one would ever accuse VAC founding member James Mathers of spreading it on ‘too thin’. Everything he does is spread thick, especially his paint. Many of these oil-stick drawing were completed here at the VAC. During this period, the script for Parking Lot was refined then recorded with an ensemble cast including DJ Lyf, Malia Luna, Bailey Rye, Pablo Capra, Dead Dave, Doug Lewis, Cara Tompkins, Derek DeVries.
These drawings form the groundwork for the produced version of Parking Lot. Approximately 80 drawings make up the storyboard for Parking Lot, here are a few choice selects. The complete collection will be posted on this blog, coming soon.
JAMES MATHERS – STORYBOARD SCENES FOR ‘PARKING LOT AT THE CENTER OF TIME’
PARKING LOT AT THE CENTER OF TIME – YOU TUBE