Showing posts with label clark. Show all posts
Showing posts with label clark. Show all posts

Saturday, March 16, 2024

When DJ'ing meets Artificial Intelligence

 Many of us have seen a lot of changes in the past year which relate to AI, or Artifical Intelligence.  It's an industry which is bringing seismic changes to a large number of other industries and processes.  I've been paying a lot of attention to the potential of this technology.  On one side, I'm using AI to speed up my workflow in my reforestation and other work, using it to help me with everything from educating me with broad overviews of topics that I'm unfamiliar with, to coding tips, to helping me with website updating, to analyzing spreadsheet more quickly.  It's probably doubled my work capacity as a whole over the past three months, because the AI has been able to quickly accomplish a lot of tasks that I would have needed hours to do on my own, which allows me to move onto my next task more quickly.  AI has been a huge help in letting me "catch up" on a lot of my very extensive to-do lists over the past three months.  I've even tackled a few projects that I had original put on my to-do lists as long as 8-10 years ago.

But what about DJ'ing and music production?  Well, AI can produce "original" music?  Perhaps my music production skills will become less valuable in the future?  Well, I'm not worried about that.  I haven't used AI to produce music because the enjoyment of music production is the journey of creation, not the end result.  However, I have used AI's to generate background imagery for several music videos that I've posted on YouTube over the past year.  And the quality of those videos is going to become exponentially better over the next twelve months, thanks to Sora, a technology from OpenAI.

Here's an article that I just watched from CNN.  It's brings things to a new level, using an AI Avatar for DJ'ing (click on the image or the URL below the image to go to the article page, and watch the video):


cnn.com/videos/business/2024/03/14/dex-sum-vivas-digital-human-spc.cnn


I think this kind of technology is great.  Like any tool, it can be used poorly in a way that does not necessarily benefit people, but when it is used properly, it can bring a lot of benefits.  But there will be detractors.  What are some of the ethnical considerations for this sort of use??

Intellectual Property Rights: Restricting the AI to operate within the bounds of copyright law, and to respects creators' rights, will be crucial to avoid legal issues and maintain fairness in the music industry.

Authenticity and Transparency: The use of AI in performances raises questions about authenticity. When an AI avatar performs, the line between human creativity and machine-generated content blurs. It's essential to maintain transparency about the use of AI, so the audience knows whether they are experiencing a human DJ's artistry or an AI's output. This transparency helps in setting the right expectations and maintains the integrity of the performance.  Right now, there's absolutely no question when watching a performance, because the technology is quite young.  But what will things look like in three years?  The technology will probably have improved so much that viewers won't be able to tell the difference between an avatar and a real human.

Cultural Appropriation: An AI-powered DJ might inadvertently engage in cultural appropriation by mixing elements from different music genres or cultural backgrounds without understanding their significance or context. And of course, the appearance of the avatar will be important.  Would I want to play a show for an indigenous community while appearing as an indigenous avatar?  Absolutely not.  It's vital to ensure that the the AI avatar is created and displayed in a way that respects cultural heritage and avoids misrepresentation or trivialization of cultural elements.

Job Displacement: The rise of AI in the entertainment industry could lead to job displacement for human DJs and musicians. While AI can enhance performances, it shouldn't replace human artists entirely.  In the article that I linked, there's a real DJ (or even a full team) in the background, controlling the show.  Balancing the use of AI to support rather than substitute human performers will mitigate worries from performers who are concerned about losing their jobs.  And many DJ's already struggle to find gigs.

Bias and Fairness: AI systems can inherit biases from their training data, leading to unbalanced music selections that might favour certain genres, artists, or cultures.  Ensuring that AI DJ'ing avatars are trained on diverse and inclusive data sets is necessary to prevent biased outcomes and promote a fair representation of different music forms.  This is why it helps to have a human behind the avatar.  An experience human DJ can read a dance floor and respond to the crowd better than an avatar can.

Balanced against these ethical considerations are the benefits.  With AI DJ'ing avatars, music and performances can become more accessible to a wider audience. People from different parts of the world can experience performances virtually, without the need for physical presence. This inclusivity will allow more people to enjoy performances regardless of their location or physical abilities.  I've always had a huge online presence with a global audience, and this sort of capability could help reinforce that global reach without contributing to a large carbon footprint that would go along with flying all over the world to play at shows in person.  True, it's not as fun, but it's more efficient.


Obviously, the use of an avatar to play a set is very different than the real thing, and I certainly don't think it will be an effective for a real DJ in a lot of situations.  But in some cases, this new technology could prove to be pretty useful.

It's a technology worth watching, because it's not going to disappear ...



I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing (as a real human) and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca








Wednesday, February 21, 2024

Techno Track: "Bolivia - Foundation (Original Mix)"

Here's another one of my tracks for you to check out.  I'm still working on my website rebuild, every day, but I'm getting very close to finished.  I'll almost certainly be able to sit back and catch my breath by this weekend.

In the meantime, let's focus on this track, "Foundation."  I'll have a free download link below.








Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download the mp3 directly from SoundCloud:


"Foundation" is a techno track characterized by a consistent beat and solid rhythm. From the start, the kick establishes a foundation upon which the rest of the track builds. The percussion maintains a consistent tempo throughout, providing a sense of reliability and stability. As the track progresses, subtle variations and layers are introduced, but the underlying foundation remains unwavering. It serves as a musical anchor, ensuring a cohesive and predictable listening experience.

The track's structure is built upon repetition and continuity, mirroring the reliability of a strong foundation. Each element integrates with the next, creating a mix that listeners can rely on. There are no sudden shifts or surprises; instead, the track unfolds methodically, reinforcing its steadfast nature. Like a well-built structure, "Foundation" stands firm, providing a sense of security and consistency in its sound.

As the track evolves, it maintains its solid base, never wavering from its established rhythm. This sense of reliability extends beyond the music itself, embodying a broader concept of dependability and trustworthiness. Whether on the dancefloor or in everyday life, "Foundation" serves as a reminder of the importance of consistency and stability.  You're only as good as your word.  Speak the truth to others.

In essence, "Foundation" is more than just a techno track; it's a testament to the power of consistency and reliability.



I also put up a version of this track on YouTube.  The visuals accompanying the track were done by an AI, although the music is my own of course.  These AI visuals are very rudimentary.  But thanks to OpenAI's Sora, my future music videos may look a LOT more professional:







To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca







Sunday, February 18, 2024

Techno Track: "Bolivia - Catharsis (Original Mix)"

Here's another one of my tracks for you to check out.  I've been super busy for the past three weeks, rebuilding my main website from scratch for the first time since 2017, to make it mobile-friendly.  Not surprisingly, it's taken me about four times as long as I had initially expected.  But perhaps that's why it's taken me seven years to find time to start that project.

In the meantime, let's focus on this track, "Catharsis."  I'll have a download link below.






Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download the mp3 directly from SoundCloud:


"Catharsis," as a concept, embodies the release and purification of emotions through a transformative experience. In the context of this techno track, it symbolizes the power of music to serve as a conduit for emotional expression and healing. The relentless beats and subtle melodies encapsulate the journey of catharsis, guiding listeners through a process of introspection, release, and ultimately, renewal.

Within the confines of the track, each element works in harmony to create an immersive landscape, everything from the constant basslines to the repetitive stabs.  This complexity mirrors the multifaceted nature of human emotions, offering listeners a canvas upon which to project their innermost feelings. As you lose themselves in the music, you'll be encouraged to confront your emotions head-on, allowing those emotions to surface and be acknowledged.

Moreover, "Catharsis" underscores the importance of emotional release and self-discovery. In a world where we all struggle with mental health, where we're overwhelmed by stress, anxiety, and societal pressures, it's crucial for us to find healthy outlets for processing our emotions. Whether it be through music, art, movement, or introspection, engaging in cathartic experiences can lead to a sense of clarity, empowerment, and inner peace.  Inner peace.

Ultimately, the significance of "Catharsis" lies in its ability to remind us of the transformative power of music and the importance of tending to our emotional well-being. By embracing the cathartic journey offered by the track, I invite you to delve deep within yourself, confront your inner demons, and emerge stronger, more resilient, and more attuned to the healing power of self-expression.


I also put up a version of this track on YouTube.  The visuals accompanying the track were done by an AI, although the music is my own of course.  These AI visuals are very rudimentary.  But thanks to OpenAI's Sora, my future music videos may look a LOT more professional:







To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca







Saturday, February 17, 2024

DJ Bolivia - Live in Tokyo at Velours

The other day, I was looking for a blog post from 2007, trying to find a copy of my live show at Velours (and the track listings).  I couldn't find a copy of the set on my SoundCloud page for some reason, nor did I have the full unbroken set in Dropbox.  I found a copy of the set that was cut in half, to accommodate fans who typically had to burn mixes to CD to listen in their car.  Oh what a long way we've come in just fifteen years!  We really don't appreciate how lucky we are these days when it comes to the power of computers and technology.  A lot of the "hi-res graphics" from the early days of my website are only 340 pixels square, if that.  And a lot of my photos were only 450 pixels wide.

Anyway, as I was digging around, I also noticed that I didn't have a track listing that made sense.  I had a track listing in my "Complete Track History" spreadsheet, but as soon as I started to look at it, I realized it wasn't correct (having been listening to the set).

I had to dig deep to find it, but eventually I succeeded!  But what a challenge.  I had to go back into old data files on the Wayback Machine.  But I'm fairly OCD, so it was worth the hunt.

If you'd like to download a copy of the mix, go into my "Live Shows" folder at this link:

djbolivia.ca/mixes

You'll have to grab the 2+ hour long show as two separate segments for now, but I know that I have an original copy of the recording somewhere that I'll put into Dropbox eventually.


Here's a photo page from the trip:  Tokyo Photos, DJ Bolivia


And most importantly, here are the correct track listings:


01.  Project 54 feat. Jason Lord, "Brother" (Jesse Garcia Tribal Spain Remix).
02.  Gainer & Rogers, "Futurenature" (Original Mix).
03.  Minilogue, "In A Deeper Motion" (Original Mix).
04.  D-Formation, "Carry On" (Original Version).
05.  Robert Travis, "Seduction" (Avanti Mix).
06.  MV, "Come Back To Me" (Original Mix).
07.  Transducers, "See You Dance."
08.  Alma Matris, "Rapido" (Back In Town Edge Mix).
09.  Tilt, "Twelve" (Dousk Mix).
10.  Tone Depth & Soul Tan feat. Stephanie Vezina, "Broken" (G. Pal Safe Haven Mix).
11.  G. Pal vs. El Greco, "A Prayer Beneath."
12.  Bush People, "Nothing's Safe."
13.  Little Green Men feat. Eliza, "Through With You" (Thomas Penton Remix).
14.  Chris Cargo, "Saddle Funk" (Graeme L Remix).
15.  Piliavin & Zimbardo, "Just Once."
16.  D-Formation, "Signs And Portents" (Original BF's Version).
17.  Frank Pellegrino feat. Lauren Marie, "Pleasure" (Frank Pellegrino Original Mix).
18.  Dan Berkson, "The Other Side."
19.  Subtone Trio, "Load" (Chab Remix).
20.  North Atlantic, "Mind Filter" (Trendroid Croc Hunter Remix).


Enjoy!

 

 


I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Techno Track: "Bolivia - Industrial Psychology (Original Mix)"

Hey everyone, thanks for visiting.  I've been super busy for the past three weeks, rebuilding my main website from scratch for the first time since 2017, to make it mobile-friendly.  Not surprisingly, it's taken me about four times as long as I had initially expected.  But perhaps that's why it's taken me seven years to find time to start that project.

About an hour ago, I uploaded a video to YouTube of one of my tracks from the end of last year.  Yesterday, OpenAI announced news of Sora, their new video generation system.  Holy shit.  AI capabilities have increased at an incredible rate over the past year.  Just think about what things will be like in four more years.  We'll probably be able to log into Netflix and simply enter a prompt about what movie genre we'd like, include any suggestions for actors (existing or AI-generated), and Netflix will use AI to generate a new and unique one-of-a-kind movie just for you.  That kind of progress seems inconceivable today, but AI is advancing quickly enough that this sort of scenario would be entirely possible that soon, based on current exponential development rates.  The only problem will be trying to figure out where to source all the raw materials to build the GPU's that will power the server farms that make this kind of processing possible.

In the meantime, let's focus on this track, "Industrial Psychology."  I'll have a download link below.




Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download the mp3 directly from SoundCloud:


You may wonder what this track symbolizes.  I'll tell you a story...

In a distant future, where the remnants of nature cling to life among the steel skeletons of once-great cities, a new form of expression emerges, thanks to wispy memories of a long-forgotten techno track called "Industrial Psychology."

Our dismal grey scene is the home of the Reclaimers, a group of digital nomads who traverse the desolate landscapes, seeking to restore balance between technology and the natural world.  Their mission is guided by the belief that the soul of humanity lies in its ability to coexist with Earth's dwindling ecosystems.

The genesis of "Industrial Psychology" unfolds in the mind of Kai, a young Reclaimer with a talent for weaving the sounds of the old world with the digital streams of the new.  Kai discovers an abandoned factory, its machines silent and still, but within it he finds inspiration.  Sampling the whispers of the wind through broken windows, the drip of water reclaiming space, and the distant call of the wild, Kai constructs a track that is a mosaic of the world's forgotten corners.  Little does Kai know that his track, "Industrial Psychology," is based on a deeply repressed cultural memory of an earlier track of the same name, by a forgotten DJ named Bolivia.  However, Kai's music serves as a fourth-dimensional bridge between past and future, a call to remember and rebuild.

"Industrial Psychology" resonates not only as a piece of music but as a symbol of the Reclaimers' ethos. It's played in the reclaimed zones, areas where technology has been harmonized with nature, powering vertical gardens and purifying air, turning the ruins into havens of green amidst the grey. The track becomes a beacon, drawing people from the shadows of the cities to join the Reclaimers' cause.  Each thumping hit of the kick symbolizes past destruction, and subtly underscores the delicate balance between human ingenuity and the natural world.

The climax of this story sees "Industrial Psychology" echoing through the heart of a massive, revitalized city-park during the Equinox Festival, a celebration of the equinox when day and night are in perfect balance.  Industrial Psychology is the theme song for the festival.  It's the soundtrack of a cultural movement, an experience that encapsulates the hope and resilience of a society striving to forge a new path where technology serves as a steward of the earth, not its conqueror.

But in the end, everyone succumbs to acid rain.

Happy Saturday!


I also put up a version of this track on YouTube.  The visuals accompanying the track were done by an AI, although the music is my own of course.  These AI visuals are very rudimentary.  But thanks to OpenAI's Sora, my future music videos may look a LOT more professional:







To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca







Tuesday, February 13, 2024

Techno Track: "Bolivia - Stephen Hawking (Instrumental Mix)"

Here's a bit of info about one of my older tracks from a couple years ago, entitled "Stephen Hawking."  If I remember correctly, I believe that I shared this online in 2018, a few months after Stephen passed away.  You could call this a tribute to a brilliant mind.





Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download this track directly from SoundCloud:



Sometimes my blog posts are semi-serious, sometimes they're bordering on silly.  Stephen Hawking was [mostly] a serious man, so this will be a serious look at his life.  Don't just glaze over; his accomplishments were incredible.  But you can always listen to the track while you're reading.


Stephen Hawking was born near the end of WWII in the town of Oxford (England, not the one in Canada near my hometown).  He eventually emerged as one of the most preeminent theoretical physicists in history, not just for his brilliant mind but also for his indomitable spirit in the face of amyotrophic lateral sclerosis.  ALS was a condition that rendered him almost entirely paralyzed. While Hawking's early life was marked by academic excellence and a burgeoning fascination with cosmology, it's been his contributions to the understanding of the universe that have cemented his legacy.

Hawking's academic journey took him to the University of Oxford, then later the University of Cambridge.  At Cambridge, he began his ground-breaking work which included studying the nature of black holes and the framework of cosmology.

His ALS was diagnosed during his graduate studies.  That condition perhaps drove him in his relentless pursuit of knowledge, allowing him to transcend his physical limitations and explore the deepest questions of the nature of the universe.

The core of his scientific achievements is probably his work on black holes, which revolutionized our understanding of these bodies. Before Hawking, black holes were thought to be the ultimate endpoints of gravitational collapse, regions from which nothing, not even light, could escape. Hawking's introduction of quantum mechanics into the realm of general relativity led to his discovery that black holes are not entirely black but emit radiation, which is today known as Hawking radiation. This prediction was ground-breaking, as he was able to provide a quantum mechanical explanation for black hole radiation.  He also suggested that black holes could eventually evaporate, albeit over the course of astronomical timescales.  Hawking's work on black holes was not just an academic exercise.  Most importantly, it bridged quantum mechanics and general relativity, giving clues to a unified theory of physics.

Another monumental contribution of Hawking was his work on the origins and structure of the universe.  His no-boundary model of the universe, developed with James Hartle, helped explain how the universe could have arisen from the quantum fluctuations of the vacuum, which offered a framework for understanding the Big Bang and subsequent evolution of the cosmos without the need for a singular beginning point.  Hawking's studies also contributed to the inflationary cosmology theory, which describes the rapid expansion of the universe immediately following the Big Bang.

Beyond his scientific contributions, Hawking's was great at communicating complex scientific ideas to the public.  His 1988 bestselling book, "A Brief History of Time," brought the intricacies of cosmology, black holes, and the fabric of the universe to millions of hobby astronomers and other readers around the globe. Hawking inspired generations of scientists and enthusiasts to explore the mysteries of the universe.

As we continue to explore the cosmos, Hawking's insights serve as a guiding light, reminding us of the power of human intellect and the endless mysteries awaiting discovery.  Although the Earth is our playground, and our individual psyches are our own individual universes, in reality we're a completely insignificant spec within the immensity of everything.  But don't let this get you down.  It didn't get Stephen Hawking down.


I put up a version of this track on YouTube.  The visuals accompanying the track were done by a human this time, although the music is my own of course:





To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca

Experimental Techno Track: "Bolivia - Inca Stargazer (Original Mix)"

Today I want to share another of my techno tracks, which is called Inca Stargazer.  I'll have download links below.






Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download this track directly from SoundCloud:


Once upon a time, in the high mountains and lush rainforests of South America, the Inca civilization thrived.  Picture this: A realm where clothing was brilliantly colourful, and llamas were the real VIPs.  When I think of it, it almost reminds me of Burning Man.

The Incas were master builders and engineers.  I also like to think that they were party planners, managing to improvise massive feasts on terraced farms that would make any modern-day event planner green with envy.  They had a knack for cutting trails across mountains without horses or wheeled chariots.  Instead, they relied on the strength of their legs.  Think of all the time that they spent running up and down steep mountains!  Every day was a leg day.  At a modern rave, they'd be on the dance floor all night.

I have no doubt that the Incas' social gatherings were the talk of the Andes.  Chicha (a kind of beer made from corn) probably flowed freely, and drum-based music that we can only dream of understanding.  Imagine their tunes, probably a mix of melodic rhythms that could make a stone statue dance.

What would happen if a DJ could go back in time to visit an Incan party with a set of turntables and a collection of techno music?  Assuming that they didn't run in fear, the scene would be electrifying!  The Incas, ever curious and innovative, would probably be baffled by the strange sounds coming from the speakers. But it wouldn't be long before their innate sense of rhythm and love for a good beat had them all facing the booth, grooving to the four-on-the-floor beat.  They would probably dance all night, grooving under the starlit skies.

And that's where we stand now.  Inca Stargazer evokes an imagined dream of what could have been, if only the Incas had a pumping sound system.


I also put up a version of this track on YouTube.  The visuals accompanying the track were done by an AI, although the music is my own of course:




To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca







Saturday, February 3, 2024

Techno Track: "Bolivia - OCD (Original Mix)"

I'm posting this page to share one of my techno tracks, which is called OCD.  I'll have download links below.




Here's a link to the track on SoundCloud.  You can also click on the down-arrow in the top right to download this track directly from SoundCloud:


In the realm of techno, where each track is itself a voyage into the unknown, "OCD" is a mystical odyssey, etched with vibrant hues of eastern oriental landscapes.  It isn't just a song, it's a trip through the sonic landscapes of the mind, where the familiar repetition of techno beats meets the mystical allure of the East.  The track unfolds as an amalgamation of digital and traditional, where the beats blend seamlessly with the melodic hints of eastern instrumentation.  This fusion isn't just music - it's a journey.  Think of it as a meditative loop that lures the listener into a state of relaxed tranquility, akin to those repetitive rituals that provide comfort to those with OCD.  And I know about those rituals.

At the heart of this musical tapestry is a line that, at first glance, seems misplaced in the context of a techno track: "You broke my heart, my dreams are broken too. So why am I still thinking of you?"  You may search for a deeper meaning to this lyric, and wonder what dissatisfied bewilderment is rooted deep in my soul.  Well, the truth is, there's no meaning to it at all.  It's just a sample that I found, and I certainly wasn't thinking about anyone that this could allude to.

Regardless, in the grand scheme of "OCD," this lyric transcends its apparent simplicity, perhaps becoming a metaphor for the relationship between the artist, the music, and the intricate dance of creation and obsession.  It's not referring to a lost love - it's about the frequent frustration of the creative process, the relentless pursuit of perfection that terrorizes producers.  I often advise other producers that, "You've got to draw a line somewhere.  The track will never be perfect.  At some point, you have to acknowledge that it's good enough and then move on to the next track."  Just as a person with OCD can fixate on specific thoughts or actions, a producer can be drawn to a search for perfection that may never be reconciled.  Nor should it be.  We're human, and our tracks shouldn't be mathematically and sonically perfect.  So basically, this lyric recognizes the paradoxical bond between creation and obsession, where the very act that creates can also destroy.  In "OCD," I present to you not just a simple little track, but a reflection on the nature of art, the dark power of obsession, and the never-ending quest for creative acceptance.


I also put up a version of this track on YouTube.  The visuals accompanying the track were done by an AI, although the music is my own of course:




To check out and/or download any of my other tracks, visit:

djbolivia.ca/tracks


Thanks for visiting, and thanks for the support!

- Jonathan Clark (DJ Bolivia)
www.djbolivia.ca

Tuesday, January 30, 2024

"When I Grow Old" - Indie Track with Mike Allison

Back in 2007, I wrote a song that I called, "When I Grow Old."  I was just digging through some old digital folders while updating my website, and I discovered several photos from that time.  So I decided to do a blog post here, based on things that I had written at the time, to save everything for posterity.  I'll cut & paste most of this, as it was written in the context of 2008 ...



Mike, tuning the bass


-----

People who visit my website because of my DJ’ing activities probably assume that I focus almost entirely on “dance music,” or progressive/tribal house EDM, for those who pay close attention to the particular genre that I specialize in. However, I have a fairly broad background in music (as my regular blog readers must realize).

Last year, I wrote a track which I thought was pretty catchy. I'd categorize it as "indie soft rock." I recorded a rough copy of the song one Saturday evening before work at the Pub, and sent the recording to Mike Allison to listen to. A day later, Mike emailed me back to say that he really liked the song, and had recorded a rough version himself. As soon as I heard it, I decided that I would try to release the song professionally.

What with all my other jobs and projects, it took a while for everything to come together, but over the next eight or ten months, I finally got the project moving forward quickly. We recorded the song partly in New Brunswick, in my own studio, and partly in Vancouver at Fadermaster Studios, with Shawn Cole as a recording and mastering engineer. Mike did the lead and backup vocals, and the acoustic guitar and bass. I played the drums, keyboards, electric guitar, and the shaker in our new version.

I also enlisted the assistance of Deanna Musgrave to help me put a video together. We did some filming last spring, and more filming this past fall. Deanna has a lot of practice at putting videos together, and has a really interesting abstract style for some of her work which contrasts with the usual style that I’ve used in the past to put a lot of videos together. Deanna put together the first version of the video for me, and then added some additional footage with the help of Julien Strasfield as a technical guru in Final Cut (since I’m used to Adobe Premium on a PC). Learning from Deanna was a really educational experience for me.

It’s interesting that this project has turned into a “Mount Allison University Community” project. Mike is an alumnus at MTA. Shawn used to be my roommate while we were at university, and he worked at the campus Pub with me as the Student Manager (his mom, Filis, still works at the university too). Deanna is an alumnus. Julien is still a student, although he graduates this year. Ian Allen, another employee at both the University and the campus Pub, did the graphic design work for the CD, and helped with marketing. When we needed extra actors for the video, we recruited Dinao (a friend of mine who worked with me as a bartender last year) to act as Mike's supposed girlfriend. For the older version of Mike & Dinao in the future, we were lucky to have the assistance of Robert Campbell (MTA’s President) and his wife Christl (a professor at MTA) as characters. In fact, the only two people involved in the entire project who are not members of the MTA university community are the two kids in the video – Evan (my nephew) and Mira (Evan’s friend).  I needed them to be in the "flashback" footage of Mike and Dinao when they were allegedly still young. Maybe someday one or both of them will decide that they want to come to Mount Allison.

Here’s the video, for those who want to watch it:





We also put together a full CD with this song as the first track on the CD, and I included eight of my favourite other Mike Allison tracks. Some of the other songs have been released on his various albums before, and some were not. The CD is called “Tilting At Windmills."

You may be curious about the name for the CD. “Tilting At Windmills” is a phrase from Don Quixote, by Miguel de Cervantes. Basically, "tilting" was another word for jousting (by knights) in Medieval times, and in the book, our hero thought that a windmill was actually a giant, and so he wanted to attack it by jousting. Essentially then, “tilting at windmills” has come to mean “fighting a futile fight” or “fighting against imaginary enemies,” or variations on the same theme. I suppose that you could infer that since this song (and CD) are being marketed purely through guerrilla or viral marketing approaches, rather than conventional musical channels, we are “fighting the musical establishment.” However, we’re just doing this for fun, so the “musical establishment” is not really an enemy. Don Quixote is the best-selling work of fiction of all time (for non-political, non-religious works), so hopefully some of that charm rubs off and makes the CD popular too.




If you want to download a copy of the song, feel free.  You should be able to download it from that SoundCloud link.

Here are the lyrics to the song, wr
itten by Jonathan Clark on February 22nd, 2007:


When I Grow Old

So this is goodbye. You knew that it was coming.
It's not like I'm running, without warning you at all.
I said months ago, it's time that I left here.
I got nothing left here, but the writing on the wall.
I've never been a loner, but I've always been restless.
You won't let me forget this, but I'm in no mood to fight.
Don't you be sad. I wanna see you smile.
I'll be gone in a while, but I'll be right here tonight.

When I grow old, will you still be here?
I'll show you that I do care, when I finally settle down.
I don't know why, you keep telling me it's not right.
I just want you to stay tonight, won't you please stay with me now?

Been here before, when we were both young kids.
When it didn't matter what we did, we were so much different then.
I can't pretend, that I can see the future.
But baby when we're older, we will be back here again.

When I grow old, will you still be here?
I'll show you I do care, when I finally settle down.
I don't know why, you keep telling me it's not right.
I just want you to stay tonight. Please stay with me now.




Here are some photos that I found from when we were working on this project:



Deanna, filming in Sackville



Mike, singing in front of the green screen



Deanna, filming in Sackville, New Brunswick



Jonathan, getting footage in the cemetary



Dinao & Mike, being filmed in the Chapel



Shawn, doing some vocal comping



Jonathan, reviewing edits to the acoustic version




I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, April 12, 2020

Icebergs & Albatrosses (But Mostly Penguins)

I have a new book online.  This one is a photo journey through the Drake Passage and on to Antarctica.




Imagine a journey from South America's Cape Horn, through the Drake Passage (also known as the Sea of Hoces), and on to rugged and majestic Antarctica. You'll see stunning views - ice, snow, mountains, water, seals, whales, and penguins (plus several dozen other types of birds and animals). You might think that it is possible to get tired of those views, but the author disagrees. This edition is a collection of photographs taken during two weeks on a Russian icebreaker vessel, including time spent camping on Antarctica itself, sleeping in the snow. For the few that have experienced similar voyage, it's the adventure of a lifetime. For those who dream of making this trip someday, these photos will be a tantalizing hint of what is to come.


Here is a link to the print edition.  This is Amazon's Canadian subsidiary, but you can just change the country code extension in the URL to find the book on your own version of Amazon:



Here are links to the various digital editions, which are priced at only $3.99 Canadian ...


(In Google Books, you may have to change the setting from "Flowing Text" to "Original Pages" on some devices in order for the content to display correctly)


You can learn about my other books at:  www.jonathanclark.ca

Enjoy!

---


I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Friday, April 10, 2020

Berlin - Techno Track with free Ableton Project & Stems Pack downloads

Francis & I just finished up a new techno track recently, called Berlin.  We're offering free downloads of the track, and also of the Ableton project files and a Stems pack.

First, here are two versions of the track.  The structure of both is the same, although I prefer the instrumentation and mixing/mastering on the Self Isolation Remix:







Now if you're a producer/remixer and you're looking for access to the Ableton project or the Stems, we have them set up in Dropbox.  Go to my public account at djbolivia.ca/dropbox and then look in the "Bolivia's Remix Projects" folder.  There are four archives there for Berlin.  The two Ableton archives have the same contents (despite different archive sizes), but we wanted to make them available as both RAR and ZIP archives, because some people prefer one type over the other.  Same deal with the Stems, both archives have the same contents.  There's also a rich text file that gives a bit of basic info about the source files, ie. things like key, tempo, external effects and processing, etc.

If you make a remix, feel free to share it online, but please use the following for a filename format:  "Urban Francis & Bolivia - Berlin (Your Remix Name)"

Finally, here's a video:



Check out more tracks by Urban Francis:









I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, January 22, 2017

The Origins of "DJ Bolivia"

I'm frequently asked why I'm referred to as "DJ Bolivia."  After all, I'm from Canada, not from Bolivia.   Here's the full story, for those who are curious.

It all began in approximately 2001.  It's hard to figure out exact dates, because most of the websites that I use now didn't exist at the time.  Back then, even sites that we now think of as the OG's of the internet just didn't exist.  In 2001, the internet was still a pretty wild place, without a lot of robust infrastructure.  YouTube, Facebook, Instagram, and Twitter hadn't been invented yet.  The only major sites that I can remember from back then were MySpace, AOL, eBay, and PayPal.  Amazon existed, but for most of us, the thought of buying something on the internet was revolutionary (and dangerous).  The popular apps that I can remember from back then were things like Usenet, ICQ, mIRC, WinAmp, and Napster.

 



One night, I was in my studio, having drinks with two of my good friends:  Drew Dudley and Marc Carnes.  We were listening to music, probably trying to sort out things that needed to be done for Conduct Becoming, and having some Jack Daniels & Corona on the side.

That particular night, we were talking about some potential upcoming shows for Marc. Marc was a well-known DJ in the Maritimes at that point, and had played at a number of parties in Halifax, Moncton, and Saint John.  We were discussing how to get Marc booked at more shows, because it was very difficult at the time to get booked as a DJ.  Marc was working full-time and was quite busy, so he wasn't sure that he had much of a future in DJ'ing.  Trying to self-promote or stand out from the crowd was very challenging and time-consuming.  He was a great DJ, but the promotional side of the equation was the problem.  My suggestion was to build an online presence.

The next three hours turned into a free-wheeling discussion about how that could be done:  The pros and cons of setting up a website, the technical challenges involved, and how to promote.  I was saying it would be easy, Drew was looking at me with a raised eyebrow wondering exactly how I would go about everything, and Marc was playing the Devil's Advocate.

At some point in the argument, I said something along the lines of, "I bet that if you gave me five years, I could turn ANYONE with some basic talent into a world-famous international DJ and recognized name brand."  This, of course, was a bold statement.  Drew agreed to take on my bet, and we decided that it would basically be a gentleman's wager, but we'd put a bottle of Jack Daniels on the line for the winner.

Marc wasn't convinced that he wanted to be a guinea pig for this project, so I said that I would be the subject of the bet.  I had already been DJ'ing for a number of years, but mostly at small parties around the university campus, or at the local campus Pub.  I was able to beat-mix vinyl records, although my skills were only at a hobby level at that point.  However, I had the equipment and records, and I knew how to hand-code websites in HTML.  My tree planting website, Replant.ca, had already been online for a couple years at that point, so I was pretty confident that what I didn't know, I could figure out.  I was the manager of the local campus nightclub at this point, and I also did all the updates and coding maintenance on that website.

Once the bet had been established, my first challenge was what to use as a stage name.  I didn't want to use my own name.  I'm not sure why.  I think it was because I didn't want my name associated with this endeavour, in case it turned out to be a complete disaster.  In retrospect, this was a terrible decision.  I should have used my own name.  Incidentally, I've considered changing my stage name to my real name at several points in the last few years, but it would be difficult to do that, since my web presence and online real estate is already so well established.

So I needed a stage name, and the bourbon & beer helped inspire me to take the process very seriously.  When I had named my dog (Dakota) several years before, I had gone through the same sort of challenge.  With Dakota, I had gone through several sets of lists, coming up with different ideas.  For instance, I went through a number of international cities.  Baghad was a strong choice for a while (thinking back to the Gulf War) but then I decided that it sounded too similar to "Bad Dog" and the dog might develop an inferiority complex.  With Dakota, I eventually moved from city names to US states, and when I got to North Dakota, I realized that Dakota was a great name.

Using the same concept that I had taken to figure out the dog's name, we eventually started going through countries in South America.  When we got to Bolivia, we thought, "Hey, this might work."

Before we had started considering various names, we had come up with a short list of qualifications.  This was that list:
1.  It had to be a name/word that was fairly well known to English speakers.
2.  It should also be a name/word that would be recognizable to Spanish speakers, if possible, since I spoke basic Spanish.  This requirement was designed to increase global marketability.
3.  The stage name had to be a single word, not a pair or words or phrase.  The logic behind this rule was that a lot of famous musicians were known by a single name:  Prince, Madonna, Bono, Cher, Sting, etc.
4.  The name had to roll off the tongue, and sound easy to produce.  It had to sound relatively cool.
5.  A good domain name had to be available, not a URL that was already taken.
6.  Most importantly, it had to be a stage name that did not appear to be in use yet.  I didn't want to be confused with an existing performer, nor to have an existing performer serve me a cease-and-desist order to stop using the name.  I had to make sure that I'd be able to put enough information on the internet to establish a "first use" precedent, to protect my stage name.

We ran "Bolivia" through that list of six rules, and it seemed to fit perfectly.  I ran into some minor problems when I tried to check for domain availability.  It's not possible to register any country's name as a domain name, so "bolivia.com" was not available.  The builders of the internet were smart like that, thinking about preventing domain-squatting.  After some discussion, we decided that "djbolivia.com" was adequate, because at least it clarified the purpose of the site.

Most importantly, at that time, there wasn't anybody using "DJ Bolivia" that I could find when I did searches on Google or Yahoo.  Incidentally, a year or so later, I discovered a "DJ Bolivia" from California who had an account on MySpace before I did, but my main website was established before his MySpace account, so I didn't worry about this "imposter."

We tried to think of any other reason why Bolivia wouldn't be a good stage name.  I realized that Bolivia was a country that I really wanted to visit, and that I probably wouldn't find a better choice.  That decided it.  I said, "It's official.  I have five years, and I'm going to win this bet."

So basically, that's the entire story of where "DJ Bolivia" came from.  I started working on a website almost immediately.  I also started practicing more diligently, with at least 2-3 hours on the decks several nights each week.  And I tried to figure out ways to distinguish myself from other DJ's.

My online presence really made a difference.  All of this happened at a perfect time.  The internet was just starting to explode in growth.  I decided to record some demo mixes and try to share them online.  At the time, there were literally NO websites or services that allowed a person to do this.  I did some research about the legality of it all, and discovered that under Canadian law, it seemed to be legal to share mixes if three conditions were met:

1.  The mix had to be free, non-commercial, and not creating any monetary gain for myself.

2.  There could be no full and complete isolated commercial songs in the download.  By mixing at least 60 seconds at the beginning or end of each song with another song, I was able to meet that rule.

3.  Any online distribution was not allowed to have a negative impact upon the distribution or sale of the original work.  This is a complicated one, but essentially, nobody was going to refrain from buying a vinyl copy of any of the individual tracks on my demo mixes simply because they had a digital copy of my mix available.  Remember, at the time, it was pretty much impossible to even buy digital copies of music.  The only service that I think was trying to go into legitimate digital music for online sales was MP3.com - which went bankrupt.  They were ahead of their time, unfortunately.

Putting demo mixes on my site was a game-changer.  At the time, almost nobody had "fast" internet.  I had just gotten one of the very first ADSL lines in New Brunswick a couple years before that.  Cable and ADSL were really only being introduced to a wider public in Atlantic Canada right around that time, and throughout the early years of my website, the vast majority of Canadians went online using dialup, if they were able to go online at all.  To download one of my earlier mixes, encoded as an MP3 that was only about 56 megabytes in size (128 kbps bit rate) often took people an entire hour hour.

At that point, almost nobody in the world had a site where it was legally possible to download a DJ mix.  My own site wasn't quite a pioneer in that respect, but it was  definitely in the "very early adopter" category.  I built an audience of fans from around the world, just because almost nobody else was doing what I was doing.  Some of those early fans (people like Dan Fernandez at MicroSoft, tProphet from 2600/Defcon, and half a dozen others) are still friends today.  They've all helped my hobby DJ'ing career in various and sometimes unintended ways.

So that's the full story about the origins of "DJ Bolivia" and of my website.  Drew graciously conceded defeat in our gentleman's bet after some gigs that I played at the San Jose Game Developer's Conference and a couple venues in Japan, even though that was technically more like six years after I had built my website, not five.


I'll leave you with a graphic that shows what the main page of my website first looked like back in 2002.  What's funny is that this is an image file that is just 70 kilobytes in size, but at the time, that took 15-20 seconds to display on a dialup connection!





I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca