Class of 2001

When I think about my ways, it seems as though I’ve always striven to be a traditionalist. I naturally took a liking to Jazz, maybe because of the personalities. I think I was also in awe of how an elite group of people listen to such a dissonant sounding music and how these musicians had drug addictions, lots of different women, and other things that make this music appealing to a young adolescent. Of course my love for music has always been one of the main driving forces of me pursuing the art. But there was also this other side in which I thought I needed to live in order to feel like I had lived enough. Jazz was like a secret society to me and I wanted in. This happened. But it wasn’t the golden days of glory that I thought it was going to be. Instead it is mostly a replica of itself filled with nostalgia, and jaded old legends adjusting to an influential institution. This organization is filled with young and youngish professional students who demand the titles and praise of the old days without the urge to have anything to say/express in their music except that they ‘demand respect’ from the elders and the institution. For a person like me, this has been hard to dwell in. I was never a big fan of the institution and felt that they took away from my musical and artistic intuition rather than adding to it. I used to never second guess myself when I would play, and has taken years to undo the trauma that I underwent. The institution is really thriving nowadays, and has gotten to the point where it has influence on the press and record labels as to whom will be the next big thing. I didn’t play ball like I was supposed to.

In this day and age with more different art and music in the world than ever before, it’s hard not to replicate. Also with the easy access to masses of information, it can be difficult to keep your soul core. So naturally, replications can be used in a satirical or sarcastic manner as a tool for true individual expression against the vast information (not knowledge) out there that competes for our attention. But when they (replications) are executed too well with no soul from the executioner and only the sole purpose to demand respect without the intent to share or express, this at times can be very dark and energy draining to bystanders unless they all thrive off of this type of battery acid. They may have gotten so used to the sound that they don’t even hear a problem.

When I listen to musicians nowadays, many of them sound very informative but that’s about it. The only problem is that so many of them sound this way, that they are numb to their lack of growth and cheer each other on. There is an over abundance of these people today, and they are not just in the Jazz world. But maybe they serve a purpose. I guess what scares me is the lack of awareness from club bookers/owners and the press. I expect labels to make dumb decisions. But all of these institutes are now being sucked into this darkness of TMI from these musicians and their friends/promoters who are to no surprise, failed musicians that want to control a scene. What’s funnier is the older generations whom also have this glitch in their playing, are angrier with the younger generations and called them out for the same type of flaw. There is a real cross-fire now between these entities. It would be humorous if it wasn’t happening on such a vast level. I’m now seeing a new thing occur. While these two entities are fighting over who is who. A new phenomenon has entered the ring. And when the trumpet sounds the change, beware. This is one who exclusively relies on the battles fought by others and the assurance of the institution to back them. They do everything by the institution’s rules in return for a reward of receiving a high title of their choosing in the art world. And if any of the elders try to contest the decision that the institution makes, they will quickly be put in check as they were the ones who contributed to this decision.

Did the elders not participate in the institution through teaching master classes and giving clinics? Did they not give their student of choice a high ranking? Were their egos not stroked as they KNEW that the students they taught and gave high rankings to, didn’t know shit for changes? Did the elders not take the money? Well then they don’t have anything to say. In truth, it is the elders that can take a significant amount of blame for this. They bought into a scam. This is how it happened in my opinion. Due to the first informative players that emerged around the 80’s, Jazz became music for the Yuppies. But after the breakthrough of Hip Hop and the use of record samples from the Jazz Icons of old by Djs, people heard the difference and another type of Jazz Musician that was more BE-BOP aware as opposed to the more modal informative entity, emerged. Around this time, the modal entity was doing a lot of soul searching. They started to revert back to the earliest forms of Jazz (i.e. Swing and New Orleans music). They realized that others realized the gigantic holes in their playing. It was quite frustrating for younger generations after them as they looked up to the modal playing that these 80’s players laid down. Then there was the “Young Lion”, generation in the early 90’s. The institution seemed to really have an agenda on this one. Maybe it was to rekindle the fire of interest in Jazz. The music sounded very serious and needed to be a little more light- hearted. The “Young Lion” generation understood this well and introduced a very “By the Book” sound to the public, with a contemporary flavor to it. But not too contemporary to the point where it wasn’t considered traditional Jazz. Some of these guys also had a lot of holes in their playing as well. Both generations seemed to struggle with compositions that had changes and formed a peculiar way of working around that.

Nowadays, they do not have this problem. As a matter of fact, they participated in strengthening the institution by correcting its outlook on Jazz vs. Classical. And as they did this, they strengthened their skill and knowledge in the older styles of Jazz. The one thing both generations had under their belt is that they were exceptionally, technically proficient on their instruments. So much to the point where they could fool the average critic listening to them B.S. over the changes, including the horrible changes they had written. The critic would be taken by these player’s leaps, jumps, tone, and other trickery on their instruments which does call for an extensive knowledge of their instruments, but doesn’t call for an extensive knowledge of any particular art form, maybe the earlier forms of Classical music. So, these musicians were amateurs. I think the arrogance of the older legends and their clear reign over the masses for so long left the critics, promoters, as well as other institutes with very little influence on the public for a time. But then came the times where legends were not showing up for concerts, doing drugs on stage, cussing out their audiences etc. So when the institution saw that younger, clean cut ‘looking’ generation, they went to work, and in a very desperate way. It must have been necessary because the institution was successful. The institution seems to be keen to when a generation is starting to get comfortable and arrogant. And they’ll quickly bring in a new obedient batch of musicians. And the older more comfortable generation always complains about how much this younger batch of musicians don’t even know enough vocabulary to be given record deals and other spoils. I don’t need to state the irony. And although the older generations thought they were fooling the institution while going back in history and refining their understanding of the music and keeping their career at the same time, they were not. As a matter of fact, they helped to create more resistance for innovative music, as the institution is most pleased when there are no innovative concepts to challenge its present system. So these generations got stuck into being book keepers of the music. They became Professional Educators.

There was another sub-young lion generation and then came my generation. I think they were trying to call us the “class of 2001”. I was a little younger than that class. I still ended up associated with them so oh well. I must say that I am probably the black sheep of this generation. The only reason why I am writing this is because I can’t really perform anywhere and am running out of respect from my peers as they have become reluctant to record with me due to the lack of write-ups and other forms of attention. This could jeopardize there “in demand”, look . At least in their eyes. I was told the only reason for this has to do with the fact that the public eye and promoters as well as other institutes will not give me the nod, in public. Although they do in private as I have the emails to prove this. I’m starting to feel that this neglect is a blessing more than it is a curse. I see that the new agenda for the institution is to create professional students. I didn’t go along with that program so I along with a few more in my generation have to fend for ourselves.

Many in my generation are paycheck players today. Meaning, we take many Rap, R&B, , Pop, and other gigs that do not allow us to show the full range of our talents. We think that we have to. Some of us have families now. Also I think many of us were discouraged when we saw the B.S. for what it was and didn’t know how to fight it. Also we’ve been in New York for about 12 years now. This is 3times over Jimi Hendrix’s peak reign (about 4 years long). That’s a long time. Many of us are plagued with the fact that our great chops are down, due to the neglect inflicted by the institution and the few opportunities to show our skills. The ‘Young Lion’ generation would whip on us at jam sessions (when they would come out). This is what was done to them and was a healthy tradition to uphold given there were many opportunities around for work and recognition. But the ‘Young Lion’ generation was blind and arrogant when it came to seeing into the future, so they couldn’t see the scene shrinking along with the European Jazz scene starting to form its own thing. When they got the wake up call it was too late. Many of those ‘Young Lions’ are dropped from labels today and playing in smaller venues as well as starting to have chop problems. However, that doesn’t change the fact that my generation was still discouraged. We saw the B.S. for what it was and some of the key players in my generation didn’t participate in the competitions and things of that sort in which we were supposed to. The reasoning behind this was we saw the sub-young lion cats participating in these events and nothing would change in their career. The institution promised a certain push in their (the musician's) careers if they participated in these competitions and won. However this did not always happen. And it became too great a risk to the artists for the institution to deem who was the best at, whatever instrument and that not be true only political, as well as nothing to be gained from such a vain event. So some of us (my generation) just didn’t, participate. The institution may have detected this trend. It has worked with the press and record labels to see to it that this will not happen again. There are players younger than us, and due to the lack of record deals given to my generation for numerous reasons, this younger generation like all younger generations, Has holes in its understanding. But they seem like bigger holes than the previous generations before them had. For the young aspiring Jazz musician, there was always a 5 to 10 year gap of older musicians to look up to and learn from as they were the more seasoned musicians.These older musicians were signed and working regularly. But with some of the key players not being properly documented and well represented, and the educational system starting to become more Jazz appreciative thus strengthening the institution, an imbalance was created that quickly needs to be checked.

The one thing I can safely say is that my generation, although goes through ups and downs with their chops, some of us still have a core center and knowledge of self in our playing and writing that the Informative and Young Lion generation didn’t and in ways still doesn’t have. A lot of this has to do with the neglect which was a gift to my generation. And what’s great about this is that we have the makings of what the legends had to go through in their day. It helped to make them who they were .Neglect, financial issues, rivalry issues, racial issues, chop issues, you name it. Coltrane, Brownie, Parker, etc. all had to play in Blues and R&B, bands of their day to make ends meet.

Now that’s where I went astray. I eventually cut off all my Pop and R&B connects (for the most part) to pursue the music in which I believed. The greats already did those gigs for us not to if we don’t want to. But I understand if some still need to and want to (there are always exceptions). My music doesn’t have one style, because that’s not realistic with my musical experience nor is it for many people living today in my opinion. Only one problem… The institution is so tied up with its creation (professional students) that it doesn’t have time to or flat out doesn’t want to acknowledge what’s starting to occur in music. This means that the institution has become corrupt. Just like when the legends became corrupt. Checks and Balances, time. Things just need to be checked from time to time.

I wish that I could do this with the help of my generation, but we (my generation) mostly go out for self. Many of us feel that the institution can still give us what we need. Maybe I do also since I am writing this and not pulling the stunts that I really would like to pull (and may have to pull eventually). If the institution got all of us the attention we are suppose to have today, I don’t know if we would make the best music or art that we could under their B.S. set-up and circumstances which ends up hurting all of us as the people are waking up to what’s B.S. nowadays and what’s not.

This leads me to a whole other theory. Maybe things are just shifting and my generation gets front row seats to watch if we want to. Or we can just be failed worker bees.

To be continued…

I'm Still Watching

I really think the Bullshit is hitting the fan. I’m watching former A&R people after losing their jobs try and scam unsigned artists. Maybe they are not trying to scam them(in some cases), but they are definitely trying to put their name on all of the artists’ work in exchange for a little exposure. I’m watching signed artists attempt to do a similar almost cloned concept of what their unsigned peer did years ago(and their peer talked about this kind of thing happening in their liner notes of their latest project). I’m watching These A&Rs not taking the time to even acknowledge that they should’ve gotten the milk from the cow. They’re too busy trying to keep their job. Also the fact that these industry people like power and money more than musicians and even music, is becoming more and more apparent. But what’s really screwed are these critics. How are they gonna sit back and write positive reviews about this B.S.? This is almost if not just as, worse than the times of Beethoven.

If critics don’t start doing their job, then their position in the industry will be obsolete just like how labels are becoming. Artists WILL start speaking out! Just look at Radiohead, or Frank Zappa, or Miles. Do you really think the Universe (or God for me) will sit back and let this happen for much longer? Man is eating each other up way too much and too fast. And the problem in the arts is definitely artistically showing this malfunction.

I have a rich friend who was a great visual artist. After a while he got tired of the B.S. and went to being a stock broker at an energy firm. Given his artistic mind he easily made it to the top and is quite wealthy. He still does his art when he gets a chance. Sometimes I wonder if I took that route would I be able to throw some appropriate weight around (he would more than likely give me a job). Then it struck me that this is the way many people think and that’s the very reason why shit’s fucked a little. But then it struck me that I already wrote about this in depth in my first entry on here over a year ago.

Well I don’t want to get too loopy then, I’ll be getting back to the music now. Just get it together people, we owe each other that.

Farewell To Hemingway

It’s time for Hemingway to put the mouthpiece up for a while and go back to writing and performing his music full-time again. I thank everyone for reading these posts. I tried to be as punctual and writer adequate as possible in writing this stuff, as I am not a blog writer by trade. If you have any questions for Hemingway in the future, just email me at the email contact on this blog and I’ll respond to you personally.

I know how bitter these posts come off to some of you. Please understand… I would not have shared my shit with you if I didn’t think it might help the present condition of things that are happening to all of us. I know a lot of self –help books out there teach to not be angry or feel bitter and stay away from negative energy and bitter people. However, we already know that all of these things are necessary feelings and experiences to help promote a healthy and balanced life. It’s ok to express to others if you feel bad or bitter or whatever. Just make sure you’re balancing that shit out..

To everyone that received these blogs (that’s a lot of yall) I’ve either worked with or have inquired to do work with you . You all play important roles in the industry. I have faith in you guys. And from the Emails I have received, I’ve learned that even the people I had thought were for sure assholes, are actually quite concerned, caring and really genuine people. I just have one more, quick request for you guys, PLEASE get back into artist development again. I know it’s almost impossible to do the way things are set up now, but there are a some of us out there who could really give a lot more, if we were to be helped.

Thanks for listening,
Hemingway Jenkins

Race Card?!

There is no question that racial segregation still exists …There is also no question that many people assume that the majority of people who talk about race issues are a part of some minority. And in many cases that’s true. But isn’t that a shame? The Music Industry is one of the most racially segregated institutions in the world today. Rock, Indie Pop, Classical, Jazz, Rap, you name it. Have you ever heard of the "Urban Music Department " at a Major Record Label be referred to as being the, "Black Music Department" ? I have many times. Isn’t that segregation? I’ve been apart of some great artist’s careers and seen them fall because their new project wasn’t "Urban" enough. Now that this 80’s fad has made itself prominent in the Urban scene, I’m watching these same artists try and fit themselves into new categories like "Black Rock" and "Afro-Punk" …WTF? I hear these titles being used mostly by black people… It’s like blacks are accommodating this sickness.

Historically speaking, black people have been in slavery in America, way longer than being out of slavery. So it’s not racist to suggest that traces of slave mentality still exist in the culture and dare I say, seemingly in the music and it’s "Urban" industry. And whites living under that institution for so long, some even being slave owners; One would have to also suggest a certain mentality there as well, that also presently has it’s traces in it’s culture and seemingly in the Industry. The African-American’s contributions to the arts, especially music in the twentieth century have heavily influenced the whole world up to date. It’s only logical to learn to comfortably study the many different African American views and perspectives of the present . The past is already studied comfortably almost like it’s satire, but not always studied closely. That’s why these mentalities are prominent in the world today . There has been a new statistic that suggests that slavery in it’s entire definition is occurring now, more than it ever has in the history of mankind (based off of a special about present day Haitian slaves). At first I always wondered why black people were so quick to categorise themselves. Then I saw black artists trying to go into territories that happen to be dominated by whites. WOW!!

What’s scary is that most white people do not think themselves to be racist. I started to understand why these titles like "Black Rock" and "Afro- Punk" exist. I know many Indie Pop and Indie Rock artists who’s music, is not really in the spirit of those titles but they’re still considered such. The same for blacks in their categories. But blacks seem to be harder on each other about that. I remember I saw something really Bazaar occur at a lower east side bar in manhattan. The booking person there put together a bunch of bands, black and white. She clearly divided up the night, racially. Each band had 30min. to do their thing . She put one multi-genre/indie act with two Neo Soul acts simply because the artist was black. After the performance, I wondered where the black members of the multi genre band and the Neo Soul bands and their audiences, had went to. They had all went outside. I don’t even think they were aware as to why. In a span of 5minutes that whole venue was white and crowded. An all white garage band was about to perform. This is going to sound funny, but white people really intimidate black people… Especially a gang of white people. All they have to do is look at a black person with that innocent , puzzled "What are you doing here", "Am I in the White place?", look. All of those black people were outside so fast… talking and laughing like nothing happened. Unless it’s family, I personally feel that any kind of all white gathering in America by Americans is a racial statement in and of itself…that’s including labels and their "Departments".

Black people are in the Suburbs too. This might have been forgotten in some Frat college orgy…I don’t know. But there is definitely some serious racial profiling once you get to a college campus in America…and I feel it starts with the "Greeks". This effects people who may have had none of these experiences. There’s no reason why there should be titles like "Black Rock" and "Afro Punk". Next thing you know There’ll be "Black Indie-Pop". Different races grew up together in the same neighbourhoods and subdivisions checking out similar music as well as individual tastes. The music industry is not doing it’s job documenting this experience, The Black Kids and Light Speed are just not enough documentation. These stupid titles blacks and whites are giving non-urban music that people who happen to be black are making, is due to the non-participation of white owned Indie Labels not doing there jobs documenting the American Experience.

You can really see this problem in the music with rich, strong, groundbreaking twentieth century roots, "JAZZ".

Anytime you see an art or culture with a rich, strong, influential background and history, being corrupted, you better take a closer look at it, and the world. One tradition always has reigned true about the black jazz musician. You either really make it or you really don’t. Most gigs are given to white jazz musicians. Small’s (10th st. 7th ave. NY,NY) is infamous for this. Other clubs too for that matter. Nowadays, if you stick around long enough, right before you die, they’ll make you a brief legend as you then have made, "The Bucket List". Now, you can speed up this process by loosing your amazing chops early, or dying unexpectedly. There are some great young cutting edge jazz composers out there. But I’ve personally seen many of them passed up because of there colour. Jazz is a small percentage of the market, which makes it easily controllable by very wealthy people who fund it. So one coming with too much wisdom in that scene, can easily be blacklisted. I believe the Japanese and now the Chinese are gaining influence on the Jazz industry, and the Japanese are naturally big on tradition. The innovative aspect in Jazz is what makes it very special. It is a clear soundtrack of the American Experience and the World, in the 20th century into the 21st. It naturally promotes independent thinking. But now I’m taking this somewhere else, so to be continued…

Scene Fantastic

The one thing New York still has, is that it is the mother of all "scenes". From Jazz to Classical to Rock as well as other arts. And if you look at the "scenes" closely they will tell you what's going on socially. It's no secret that all of the "scenes" in New York are dead and have been for a while. Some reporters will tell you different and have convinced themselves of this falsehood because they have a job to keep. Scenes still however, always try to emerge but are short lived due to lack of support from outsiders as well as insiders (artists not supporting each other). Also the resulting suburban scene (like Seattle, Austin etc) is turning or has turned. The economy effecting homes and suburbia could be a problem (post-grunge) if I wanna be nice. If I wanna be Hemingway, It was and is, just time. That Indie-Rock, Pop stuff has a blandness and visual emphasis on it that gives a very eerie undertone of assimilation. Don't question me, you get it, you're smart. Now you can say something dumb like, "What Art doesn't have assimilation in it?" But just admit to yourself that it pissed you off cause it has truth to it, and you'll feel much better.

Now, so I don't get accused of being fascist, by you easily intimidated types out there, I'll say these great words, "That's just my opinion, you're entitled to have yours too". However, I'm attracted to the artistic freedom it seems those Indie Rock and Pop "Bands", usually have. They have some devoted supporters. I don't know if they convince these supporters of this "mega scene" emerging or what. It seems these supporters are like old reject dorks in high school who's revenge it is to create a new high school/college scene; or a "has been ‘popular’ high schooler" who is desperately seeking a scene to control. It definitely takes one to know one, ‘Band Nerd’ and ‘Varsity Football Jock’, I didn't fit anywhere but was respected cause I was good at both (while my nose is way in the air). These scene-seekers are actually doing something that has a lot of good in it considering the present condition of numb youths. But the desperation presents the trip wire. Desperation without giving can cause some problems. That's my concern ... I don't know if these kind of people could get into these New York types due to the nature of how they search out scenes.

I can definitely say that I have contemporaries, but we have a hard time sticking together because everybody's going for self, due to the fact that none of us have a significant following and we tend to only play to other bands performing on our night, at shows. Now, one could say that this must mean our music isn't strong enough, but I doubt that because we all have credit with every peer or band that has encountered us. However, the New Yorker's nature is trendy and they don't want to be out of the loop. This makes for un-devoted listeners.

Quantity is clearly more valuable than quality to the New Yorker. Even in other arts. I went to MOMA one Friday (cause it's free on Fridays), I'm trying to take in this Pollock piece and this girl jumps right in front of me snapping shots of the piece, then snaps a shot of the annotation next to it. I couldn't believe how many others were doing it, almost everybody! They don't even take in the moment with the painting, just snap...snap...snap! My girlfriend later pointed out that, traditionally people can’t use flash photography in a museum, for fear of damaging the painting. One person was so exhausted from all the photo taking, they leaned on a Picasso to take a break and security didn’t make a big fuss about it, they just quietly told him to move. This is sooo Information Age behavior. They’ll email all these paintings to their friends as proof that they are living life to the fullest. We now tend to gather all of these experiences up for status, without experiencing anything.

I went to the Chelsea Gallery district to check out some cutting edge art. That shit was so redundant, I was laughing out loud and had to leave. The themes were so literal by these artists and "in my opinion" very lazy. What was interesting (more than the art itself) was the background stories of the art given by the gallery staff. I quickly realized that I wasn’t alone and felt sorry for any true artists trying to survive out there.

It scares me that we’re this lost. A people this lost, can and will be taken advantage of and swept up by an unexpected force. Don’t believe me? All I have to say is this: There are a lot of American musicians starting to do business in China.

More Artists, Less Bands

It's time to Focus more on Artists and Less on Bands . It's very rare nowadays to find a new and fresh real "Band" . Usually It's a hype, a lie, but not a band. Due to abusing and overindulging in the spoils of technology, we are losing are honest natural human quality to share and interact with each other . We don't even give ourselves time to know ourself, for the fear of who we might be (or think we are) . Let alone share our true selves with another, publicly, not behind an anonymous comment on a blog lol (Hi!) etc. . I understand that you may be willing to do this if others were enlightened too, but since this is the way the real world is today, it's folly to step in the way of oncoming traffic...RIGHT? Well don't expect "Bands" to be any different. They are people, just like me and you , suffering from the same Information(TMI) Age trauma, that you and I are suffering from .

They'll get together and "jam", or they may already be Big in another BAND, but are now trying a newer hipper truer SIDE BAND project (probably because the other band is going under) . The truth is, you have more true interaction going on with your colleagues in your office space and/or work place than a band does amongst it's members let alone performing music ( it still doesn't give you the right to put your crappy music on theirstage.com:) . Usually nowadays, a band is made when a bunch of opportunists get together on a non-verbalized goal (so that it still has this spiritual like-mindedness, illusion to it) and play "the sound" (not a sound) they think will have us hooked like we're some crackheads because it's a proven formula . Now, some do not make it as obvious as others, they really experiment with reintroducing "the sound". Many do it subconsciously and we listen subconsciously (many times against our will) .


"The Artist" knows this , and when recording or writing(musically speaking), even uses "the sound(s)" occasionally as a joke to expose them of their bull. Atleast I do (when I can find a place to record) . But not to worry, the Artist is a natural attention seeker almost like an opportunist but the need to give, overides the need to take, in the artist . When that balance is no more , then the artist starts to self destruct as he or she now is loosing their sense of purpose . You will and have, spotted Artists but you will have to also be an artist to efficiently spot one . I believe you have to be honest with yourself , appreciative( but not a slave) of others , always look for yourself in others, seek understanding and wisdom, and be a giver and then you're an artist . You can see why artist struggle, and also with themselves right? To be consistent in these things is a life long struggle . But a beautiful one .

Recruiting for the "Creative Corporate Machine"

This is a privileged time period for artists of all types . It's been a while since the arts have been sooo monitored . There are many creative minds out there . A number of things happen to these people nowadays as a result of these present conditions . Many become discouraged and , fall in line with what the" general public" , thinks they should be doing . And in doing so, they are rewarded high positions in the corporate agenda ( like, why geico commercials were constantly hip for a time meanwhile professional comedians on a whole , suck ) , the irony . This corporate creative person is interesting . They usually are very bitter about their position in society but have developed a remarkable resistance to exploring this self knowledge . But that's good for the corporate machine . Desensitizing one's self is key in the initiation process of the corporate machine . So if another creative mind comes prancing along free of corporate shackles , he or she quickly becomes targeted by the new and improved "Creative Corporate Machine" for the purification process . This is the most irritating entity in the world today . These people are prominant in the world I reside , Music .

I'm not talking about Labels and Indie Labels and A&R's ...That's too obvious . I'm talking about us . There are these new websites for musicians that have popped up everywhere ! Basically the way it works, if you pay money to these sites , they'll give you access to very important contacts in the Music Industry. Moreover , some will promote your music and blast it everywhere. We seem to think we can pay are way into being taken seriously...And for the most part we're right . But this type of mass performance art is getting redundant and monopolizing the arts on a whole , not just music . Then there are some sites (like theirstage.com) that aim to making people vote for who they feel is the best unsigned musician of their categeory , by featuring all of these unsigned artists on their site . The problem is alot of people feel they're great artists and they're not . Another problem is these people have alot of friends and may even be a great member in the church . Now that's alot of people voting for this sorry ass dude . They probably even know he sucks but it's the friendly thing to do . But there's another person in the same categeory and his or her stuff is pretty damn good but they're not as socially involved in the literal sense etc. you get it.

This competition "thing" is getting out of hand and watching people playing games convincing others of their bullshit being authentic and "serious" is getting old too . All those reality shows are messing shit up. Judges during the day and entertainment judges at night . It's getting drilled in us to judge every damn thing and on stupid levels for instance" live karaoke " singers and bands (that should be cover bands) to be judged as future artists . And the untouchables are the judges . Everybody desperately wants power in these seemingly ( but an illusion ) powerless days. I and you , are responsible for this . We are the "Creative Corporate Machine" . To be continued...