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Mar 072010
 

We had a great time at Podcamp Nashville this year, and our show went off without anything disastrous happening.  Apparently, planning does pay off.

If you haven’t been reading our previous posts, Podcamp Nashville is an un-conference about podcasting, blogging, and social media.  We rocked the socks off of twelve or so bewildered attendees with an improv set that fed audience live tweets into a speech synthesizer.  Any tweet that used the hashtag #pcn10ore was read live on air, and we had no control over the content.  One guest tweeted, “Are you guys on acid?”   We peppered the tweets about us with tweets featuring random keywords that the audience picked.

All in all, not a bad day’s work.  Featuring Craig Schenker on saxophone, Lawrence Crow on Supercollider, Chris Murray on Casio SK1 and various effects, JJ Jones on vocals, Melody Holt on vocals, and myself on tweet-synth and SKI.  I mixed the show live on my Mackie 8 channel mixer and recorded on a Marantz digital field recorder.   Aside from some compression and clicks and pop removal, I did very little post-production work on this show.  You’ll hear it in it’s entirety, warts and all.

While I do wish the festival was more about podcasting (as the name implies) and less about business-focused social media strategies, I’m very pleased with our experience.  (Ironically, that is the strength of the Barcamp principle — it’s about what the attendees and speakers want it to be about.)  The major plus is that it got us tons of free press with write-ups in the Metromix and the Tennessean.  And it was a pleasure to watch some of the other sessions, highlights being David Beronja‘s Skype session, Mitch Canter‘s WordPress session, and Dave Delaney‘s talk about geo-location services such as FourSquare.  Maybe we’ll incorporate Foursquare in a future improv.  (Ideas anyone?)

The tweet-to-speech program was a modified version of this open-source Python program by Jayesh Salvi.  While Jayesh’s program searches for tweets in the logged-in user’s timeline, our program searches tweets based on keywords.  I’m a complete Python programming newbie, and I couldn’t have done the modifications without the help of Bryan Kemp.  I also added some lines to filter out certain words (like our hashtag #pcn10ore) and to replace others  (Festival has an annoying habit of pronouncing the symbol “&” as “ampersand,” thus I replaced the “&”‘s with “and”‘s).

You can download our modified code here. (Right click and “save as”)

If you have Python, Fetival, and Curl (if you don’t, in a Linux command line, run “sudo aptitude install python curl festival”), you can use this script in your own musical adventures.  Feel free to modify it as you will.  To change the keyword, replace “keyword” in the following line with the keyword of your choice.

TWITTERURL=”http://search.twitter.com/search.json?q=keyword&rpp=30″

Add a “+” between words if you want to search for multiple keywords (ex. peanut+butter) and a “+OR+” if you want to search for one word or the other (ex. heaven+OR+hell).  Replace “30” with the number of twitter messages you want the program to read before it ends.  I left in the commented-out lines of the original program, so you can experiment.  Future improvements: I’d like this program to automatically filter any tweets previously read through, and, of course, it would be nice to be able to plug in the options from the bash terminal when you run the program instead of in an editor.  I’d love to see what you guys can do with this program.

Mar 022010
 

From left: Wess, pds, Paul, Jimmy, Charlie, & Tim. Taken by Paul.

Here’s an episode that almost never happened.  It was designed as a simple photo-op for an article The Tennessean is writing wrote about local podcasts.  In order to make the deadline, they had to shoot a photograph for the story by the end of the weekend.  The writer Dave Paulson thought our show would make for an engaging picture.  I quickly called in the troops; and we assembled last Saturday in my basement, squeezed tightly together to make for a nice picture and blindfolded because it looked cool and because . . . well . . . we’ve never done that theme before.

I’ve been working on a computer program that reads Twitter messages aurally via an open-source speech synthesizer called Festival.  I’m preparing that program for next Saturday’s Podcamp Nashville.  We’re doing a live improv for the conference where audience members can tweet to the hashtag #pcn10ore and hear those tweets in the mix.  This little last-minute improv was a perfect vehicle to test that program.

It was a complete coincidence that last Saturday happened to be the day when all hell broke loose.  Saturday was the day after the Chilean earthquake; the day of the tsunamis; and, if you searched for the keywords earthquake and tsunami in Twitter like I did, the end of the world as we knew it.  I fed those two keywords into my tweet synthesizing program, and the resulting narration became the backbone of the show.  Some of the tweeters posted on-the-scene updates, while others joked about the impending disasters, and others prayed for the areas affected and called out to loved ones.

The theme was being helpless in the face of tragedy.  The blindfolds seemed fitting, though, I admit, they weren’t practical.  Most of the performers had them off within 10 minutes (exception being Charlie Rauh whom Jimmy had to poke to make him aware the rest of us had already de-blinded).

I’m quite fond of this show.  We were in the right time, the right place, with the right performers and the right technology.  Helpless features John Westberry on drums; pimpdaddysupreme on records, vocals, and effects, Paul Cain on accordian, saw, and water bottle; Charlie Rauh on guitar; Jimmy  Thorn on keyboard and chaos pad; Tim Carey on keyboard and mandolin; and Wess Youngblood on guitar and delay pedal.  I pressed the buttons on the laptop feeding the tweets and did the live mixing.  Portions of the show were edited for pacing.  The show ended before the tsunami reached Hawaii, so I continued recording the tweets for about 20 minutes after the show was over and inserted the most fitting ones into the show.

Special thanks to Jayesh Salvi for writing the initial Python program Talking Twitter Client and to Bryan Kemp for helping me modify it to suit my purposes.  Thanks also to the developers of Festival, to Tennessean writer Dave Paulson and to photographer Jeanne Reasonover.  Thanks to Paul Cain for taking the above-photograph.  A big thank you to all the performers!

Feb 232010
 

Lest you think it’s all trophies and roses here at Theatre Intangible, we bring you an episode from our original incarnation, ~ORE~ Prefab Audio Extrapolations.  Tonight’s episode is called Menial.  Our idea was to interview various workers and pontificate about what it means to work menial jobs.  Somehow, the point got muddled by “investigative” journalism on how my roommate Jason and I were gay.

I know.

We recorded this episode way back in 1999 on the campus of Southern Illinois University at the student station WIDB.  It is not one of ~ORE~’s proudest moments.  But what can I say?  I’m a masochist.  And a sadist.  Which is why I’m offering it up for you fine people.

Enjoy.

Feb 152010
 

I know that I have a habit of saying each show is my favorite . . . but really now, this show IS my favorite thus far.  Doublebass avant-jazz artist Thomas Helton joined us for an improv with ~ORE~ regulars Lawrence Crow, Charlie Rauh, and Craig Schenker.  Because Thomas was only here for one day, we pre-recorded this episode in my basement 10 days before the original WRVU air date of June 21st, 2009.  Consequently, it’s the first show where the players were at least a little soused.  (Charlie now loves Hopslam beer.)   We didn’t have a theme per say, just the cues to play texturally and in ways the instruments weren’t necessarily made for.  This happened to be a strong suit for every one of the players.  This show is a textbook example of musicians playing experimental music musically and LISTENING to each other.  Helton on doublebass, Crow on violin and detuned autoharp, Rauh on guitar, Schenker on flute and saxophone.

Lawrence Crow just released a new album, and you can download it for free at his website.  I’ll be reviewing the album on this blog very soon.  

Thomas Helton’s bio from his web site:

For 15 years Thomas Helton has laid down basslines for jazz ensembles in Houston and around the US. He has appeared  at the Montreux Jazz Festival, and has recorded with Joe LoCascio, Carol Morgan, Chris Connolly, Smitty, Kevin Patton, & Cindy Scott.
Thomas brings all of his passion and experience for jazz to the table when it comes to his other half, avant-garde music. Early in his jazz career, Thomas was inspired by the sounds of John Zorn and Peter Kowald to venture outside mainstream musical bounds. This journey began with the Rosta Jazz Avengers, a Houston-based quartet all about free improvisation and sonic exploration. Thomas quickly jumped into composition, beginning to develop a style that combines thematic composition with free improvisation, a sort of loosely controlled writing style showcasing his hand-selected performers.
Thomas has released three albums to date. “Good Robot” (2007) and “Experimentations in Minimalism” (2006) feature compositions for small ensemble. “Doublebass” (2003) is a collection of live, freely-improvised solo performances. Thomas also appears on the 2003 Norcal Noise Fest compilation CD, as well as the KUHF “The Front Row” 2006 compilation CD.
Without further ado, we bring you Crow Helton Rauh Schenker: