John C Pollard Music (johncpollard)

Billionaires renting out Italian cities for their weddings, other billionaires pushing US legislators to pass enormous tax cuts for the wealthy while increasing our debt. Sounds like the perfect context to drop this punk-inspired song about trickle-down economics. Spoiler: It only trickles up. Could you give it a listen and share if you like it? Search for It Only Trickles Up on your favorite streaming service or keep an eye on my stories for a link. It’s on Bandcamp as well. Bass — Matt Rodgers @mattrodgers1 Cover Art — Catlin @catlincarey Mixing — Landon Arkens @blasthouse Vocals, Drums, Guitars — Me, John C Pollard

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You won’t believe this. I have had a vision restriction on my driver’s license for 40 years. I just renewed my license and past the test without any glasses or contacts. How? It wasn’t lasik. Well, it turns out you can train your eyes to see better. As a part of some brain-based work I did to rehab some lower back issues with master trainer and now now friend Lucas Koenecke, he assigned me eye exercises. It turns out those eye exercises not only helped my body feel more safe (and therefore released tension), but also improved my vision. For me, this is a story about possibility. If you believe something is possible, you may be more likely to try and go for it. Eyesight is just one example of # possibility. What else might be possible in your life? #zhealth #neuroscience #brainbased #neurology #eyesight #noglasses #noreaders

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Nothing is more surprising (and emotional) than listening to the first mix back from the audio engineer. The way I record is to worry about getting solid, high quality tracks for all the instruments and voices (generally in my home studio), but I never really worry about EQ, compression, mixing or effects (beyond a little reverb to keep me sane while I do vocals). What this means is that when the first mix comes back, the song is 1000 times better and almost completely new to me. Yes, I give production notes about what’s important, what types of effects I might like to try and which parts have priority in the mix, but generally, I have never heard anything close to what I experience upon that first mix back. I often cry some tears of joy. And sometimes I also get goosebumps. The latest mix for my next single just gave me both tears and goosebumps. Excited for you all to hear this. It’s my most ambitious piece yet with a timely message. Sign up to my email list for an early listen.

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Nothing is more surprising (and emotional) than listening to the first mix back from the audio engineer. The way I record is to worry about getting solid, high quality tracks for all the instruments and voices (generally in my home studio), but I never really worry about EQ, compression, mixing or effects (beyond a little reverb to keep me sane while I do vocals). What this means is that when the first mix comes back, the song is 1000 times better and almost completely new to me. Yes, I give production notes about what’s important, what types of effects I might like to try and which parts have priority in the mix, but generally, I have never heard anything close to what I experience upon that first mix back. I often cry some tears of joy. And sometimes I also get goosebumps. The latest mix for my next single just gave me both tears and goosebumps. Excited for you all to hear this. It’s my most ambitious piece yet with a timely message. Sign up to my email list for an early listen.

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Hopefully it’s more personalized and frictionless between artist and fan. Hopefully the fan feels more connected and has a direct say in how resources are directed to musicians.

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Safety. I’ve been thinking a lot about it. I do believe we create our best work when we feel safe. Having just said that, I remembered the story of how The Quartet for the End of Time was written and performed in a concentration camp. What drove the composer? The artists? Why would they possibly make music in such a setting? They certainly couldn’t have felt safe. I landed on the idea that maybe they felt like they had nothing else to lose. But thinking about it for another day, I wondered if perhaps it was something else. Maybe the music was a part of their survival? For many of us, we absolutely need to make music. For others, they need to hear our music. It’s essential for life. So safety, yes. But even when we aren’t safe, many of us simply must create.

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Hey this is a great intro and I’m sorry I missed the opportunity to ask questions. I’ve been trying to absorb the web3 space by lurking and listening in an effort to chart a path with my music on the blockchain, but I feel like I’m not making progress. Can you outline some simple general steps you’d recommend for artists like me to better understand and leverage blockchain for artists like me? What should I read, learn, do to get my head around an approach. I feel there is so much promise here but I don’t know the steps.

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