Beats and Feels: Six Non-Traditional Music Scores for Non-Traditional Western Electron Music (WEM)

Beats and Feels: Six Non-Traditional Music Scores for Non-Traditional Western Electronic Music

BEATS AND FEELS

Beats and Feels

Beats and Feels, A Four-Part Suite for Voice and Percussion

©Tavarus Blackmon, 2019

Voice, Lyrics, Improvisation, Arrangement and, Music for The Thing is Me, Tavarus Blackmonster, 2019

Accompaniment, Improvisation and Music for Capitalist Americans, Pop’s Curse and Mr. Simmons, Derek Kwan, 2019

Beats and Feels, Sound Art for Voice and Percussion, 11:10 minutes, 2019

Beats and Feels, Full High Definition Video, 12:01 minutes, 2019

©Tavarus Blackmon, 2019

The Blue Room, Site Specific Installation/Performance (Headlands Center for the Arts, Building 961, Sausalito, CA), Dimensions Variable, June 2, 2019,

©Tavarus Blackmon, 2019

Live Audio and Recording, Capitalist Americans, The Thing is Me, Pop’s Curse, Mr. Simmons

©Tavarus Blackmon, Derek Kwan, 2019

Camera, Tomas Yin Ernesto Montoya, Sac Centric Productions, 2019 ———————————————————————————————————————

Bedtime, Pop’s Curse (Variation), Sound Art for Hip-Hop and Nocturne, 3:35 minutes, 2019

©Tavarus Blackmon, 2019

Bedtime, Pop’s Curse, Full High Definition Video, 3: 41 minutes, 2019

©Tavarus Blackmon, 2019 ———————————————————————————————————————

Blue Room, Full High Definition Video, 1:01 minutes, 2019

©Tavarus Blackmon, 2019

©Tavarus Blackmon, 2019 1

Beats and Feels

This Four-Part Suite explores themes and mood connected to the Black Experience, abandonment, critiques of celebrity Blackness, existential catharsis and empathy. Created over several years, the lyrics for voice were written between 1998 and 2019. Variations on theme have been recorded for acousmatic audio projection for Pop’s Curse; with music for The Thing is Me, written by Tavarus Blackmon and performed by Derek Kwan and, improvisation, music and accompaniment by Derek Kwan for Capitalist Americans, Pop’s Curse and Mr. Simmons, 2019.

Capitalist Americans, written in 2012, is music created just before entering the CSUS Master’s Program in Studio Art. As a direct critique of the musician and Hip-Hop Artist, Kanye West, the work projects ideas about celebrity Blackness, urban culture and themes related to misogyny within the African-American culture, the Black Family and struggles of working class and upwardly mobile society. The vocal style, contemporary Hip-Hop, uses rhyme, slant rhyme and an extended metaphor of satiation. Verbal pictures, descriptive language, references to popular music and intentionally omitted simile are formal techniques.

References to Picture Me Rolling, All Eyez on Me, 2Pac, The Fibonacci Sequence, consumer culture, classic video games and The Occupy Movement and the idiom “Eyes on the Prize,”develop the work into an alternative position or, experience, placing a listening or reading audience into a unique position of being critical of popular narratives.

The Thing is Me presents an existential catharsis. Written and composed by Tavarus Blackmonster, 2019, the work uses an introspective vocal to discuss the prevailing issue of The Other. By the rhetorical statement, “I don’t know what the Thing is supposed to be,” the listener relates to the opposite of the other, in general terms, a Master Perspective. The personae are put through paces of projected senarios: questioning, homelessness, intimacy, the interpersonal, reproduction, spectatorship and ultimately, police brutality.

Transformation occurs through the African Storytelling tradition of Call-and-Response. As the personae confide in the Maternal each verse they subsequently, arrive at the realization that the actual Thing in question is the Self.

Pop’s Curse, written in 1998, explores themes of abandonment, urban culture and loss. Improvisational accompaniment performed and written by Derek Kwan, 2019. Variations on this theme include improvisations on Parenthood and the routine of StoryTime and have been recorded for acousmatic projection (Bedtime, Pop’s Curse) and video projection here: https://soundcloud.com/blackaudiomonster/bedtime-popscurse; https://vimeo.com/325470668, respectively.

©Tavarus Blackmon, 2019

Mr. Simmons, imparts the vulnerability of empathy, specifically the interpersonal codependence related to addiction. Written for voice in 2006, the work explores the relationship between the author and his friend. It is a call to action from one-to-another. The addiction to Heroine described in the music has become more poignant, as Tavarus Blackmon lost his nephew Alyis Smith, to a drug overdose shortly after Beats and Feels was filmed.

Vocal projection is achieved in the performance through the use of a circuit-bend, vintage CB radio. The clips and zaps of the DIY device introduce notions of authority and Police which, further highlights the role of authorship, power and privilege in current times. The personae of Beats and Feels delineate critique through humor and admonishment, describe contemporary fear and acceptance through psychological investigation, discover vulnerability in part through the loss of the Black Father and, dictate empty pleas of empathetic compassion. The Radio (mic) as a device to deliver these sentiments outlines a stream of ‘flows,’ connected to the Space of Punk and Jazz and the Place of Childhood, Maturation, Discovery and finally, Death.

Live audio for Beats and Feels, was recorded in the 961 warehouse at the Headlands Center for the Arts, Sausalito, CA; camera by Tomas Yin Ernesto Montoya; video by Tavarus Blackmonster, 2019. The 961 warehouse was transformed over the course of thirty days before production. The site specific installation, The Blue Room, 2019, Tavarus Blackmonster, after The Blue Room, 1901, Pablo Picasso, is the idea and creation of the artist. Through the process of developing images, objects, time-based media, lighting, writing and sound, the work Beats and Feels is a conceptual, immersive, sound experience. Happening on June 2, 2019, the audio recording and video serve as documentation of the actual Sound Art Performance.

©Tavarus Blackmon, 2019

Capitalist Americans, Lyrics/Arrangement for Voice, Tavarus Blackmon, 2012-2019

Percussion and Improvisation, Derek Kwan, 2019

So what’s up with these Capitalist Americans buying up everything; all the four bedroom modular homes, all the Ferrari’s, but especially, the white bread?

You’re a self-made-man, a plastic American

Put it in a package, burn it, eat out a frying pan, Never know which way to go, never know which way you can Reach upper enlightenment, your life is suburban, You drive a Suburban, your wife is a hurricane

Eating through the savings cause she’s Mrs. PacMan, You eat biscuits and gravy, beef and a burger

If she looks at you wrong, you know how you can hurt her, Cause you didn’t go to college and you can’t spell misogyny

Can’t stand your Mom, Pop’s is gone, resent your progeny, You put some rims on it, and ride it through the culture

You’re a money making darling but your lifestyle is a vulture, Yeah I’m picturing you rolling, but I’m blinded by your ego

You’re a selfish little child now you’re whining about your freedom, But you step on the poor man, body-check a baby

Put a message in a bottle, hoping, wishing for a maybe, But the Nike’s is clean, that’s all that seems important Get a gold chain, bling, ring, now you think you’re golden, But you got someone to blame, got a finger to point

But you can’t see the mirror cause you’re choking on a joint, Boom boom boom lies, I see it in your eyes

You can never know love, you’re copulating on the prize;

I said bass, bass, now it’s time for bass

I said bass, bass, now it’s time for bass

I said bass, bass, now it’s time for bass

I said cook it up, fry it up, put it in your face

©Tavarus Blackmon, 2019

You’re corrupt and a baby, a selfish little child

Buck-wild, no smile, but your emphasis is style, Lipstick and make-up, leather and a limp

You don’t respect your elders cause you just can’t learn it, Yeah the schoolin’ it was tough, so all you say is “like,”

You’re a Cali’ born girl with some heels and a perm, Predicate and verb, letters and a word

Never understood Lit’ cause intelligence absurd, Can’t spell, can’t write, you’re appealing to the masses

You’re an opiate I guess, it’s the battle of the classes, Shoes, belt, fits, and one thousand dollar glasses

Your ego is important but the purpose been subtracted, Add it, minus, a Fibonacci braid

Everyone is struggling but hey, you got it made, So Occupy and lie, then omit and deny it

The truth is important, so I cook it up and fry it, Buy it, sell it, commission for the cover

Send a stack to the Big Box, now that’s going under

I said bass, bass, now it’s time for bass

I said bass, bass, now it’s time for bass

I said bass, bass, now it’s time for bass

I said cook it up, fry it up, put it in your face

©Tavarus Blackmon, 2019

The Thing is Me, Lyrics, Music, Tavarus Blackmonster, 2019 Improvisation and Accompaniment, Derek Kwan, 2019

I don’t know what the thing’s supposed to be, I don’t know what the thing’s supposed to be now, Mama, I don’t know what the thing’s supposed to be, But I see, that the thing, the thing is me;

I’ve been walking on these dirty streets, I’ve been stepping over dirty feet now, Mama, I’ve been stepping over dirty feet, But I see, that the feet, the feet belong to me;

I’ve been making love to something sweet, I’ve been making love to something sweet now, Mama, I’ve been making love to something sweet, But I see, that the thing, the thing is me;

I’ve been talking shit and acting mean, I’ve been talking shit and acting mean now, Mama, I’ve been talking shit and acting mean, But I see, I’ve been mean, yeah I’ve been mean to me;

And I don’t know that the world’s gone crazy, But you know that I’ve been making babies, And I can’t change the world gone crazy, But I made something for the world to love…

People getting killed up on TV

People getting killed up on TV now Mama, I’ve been turning off my damn TV, Cause I see, they’ve been trying, they been trying to kill me;

I don’t know what the thing’s supposed to be, I don’t know what the thing’s supposed to be now, Mama, I don’t know what the thing’s supposed to be, But I see, that the thing, the thing is me

©Tavarus Blackmon, 2019

Pop’s Curse, Lyrics, Arrangement, Variations, Tavarus Blackmonster, 1998-2019

Percussion and Improvisation, Derek Kwan, 2019

OK class, let me tell you a story about a boy who, when he was young, learned so much from his Mama that when he grew up he thought he had a phallic vagina.

Let me bust the first verse, delineating Pop’s Curse, Explaining the game and why that it hurts, God’s gift to this earth and for all that it’s worth, I was cursed, born in pants in a land full of short skirts, Felt ashamed of my claim to fame, hittin’ whores in lace drawers, Trapped in concrete, fiending sea shores, They planted me, picked a bud up off the family tree, Trapped at three, why did Pop’s abandon me, What’s next, Rolodex for sex at six, Kickin’ it with chicks who suck dick’s for kicks, And it get’s worse, let me explain Pop’s Curse, It’s like having a dry mouth and not a quenched thirst, Ask my school nurse to describe Pop’s Curse, She let me grind from behind at nine cause I was fine, My adolescence was very depressing, I was stressing, Suicidal thoughts were compressed in, My soul; control was something that I couldn’t hold, It might have been written but the story it was never told, Without a plan, he made me the man that I am, Don’t understand, never knowing if he gave a damn, Now here I am in this land full of bastards, I have’ta, Hide my tears and fears with laughter, But after disaster, read my tombstone, He lived with Pop’s Curse, But he died without a happy home;

Pop’s Curse consists of, no love, We only got hugged when our Daddies were drugged, So we became thugs; standing on the corner, talking shit, Grabbing our dick’s, became addicts, now we long to live legit…

©Tavarus Blackmon, 2019

I just want to fly away, spread my wings and sing, Erase the existence of a young “G,” is what I mean, It seems the game is clean, but I was born living dirty, Trapped with Niggas and Bitches who never could be worthy, Yes, of the knowledge I posses, so invest, In a Brotha’ conceived from the worst, but born the best, I cried at night, I wasn’t happy without Pappy, He left us, you’d think he’d act gladly because he had me, Indeed, Pop’s seed was left in a world of greed, His absence explains the reason that I perceive, My life, in a half-glass, so I act crass, Pissed ‘bout my past, because my Pop’s didn’t last, He smashed my wishes, now I’m swimming like fishes, In a sea full of nothing but sharks, and Player Hating Bitches, I hit no switches, you never see me rolling “D’s,” Can’t you see, living happily was not my destiny, Tank on “E,” cause I’m broke, every-time I smoke I choke, When I think about it, me and my Pop’s haven’t ever spoke, But my folks hold it down in the town, Cause his biological trace just can’t be found, Sad frown on my face, with a smile displaced, Always blink when I think, was my life a waste, It’s Pop’s Curse, I came clean up on the second verse, I live on earth but I fiend for a fucking Hearse…

Pop’s Curse consists of, no love, We only got hugged when our Daddies were drugged, So we became thugs; standing on the corner, talking shit, Grabbing our dick’s, became addicts, now we long to live legit…

©Tavarus Blackmon, 2019

Mr. Simmons, Lyrics/Arrangement for Voice, Tavarus Blackmonster, 2006-2019

Percussion and Improvisation, Derek

Kwan, 2019

Now let me tell you about a guy named Mr. Simmons. He was a real nice guy and, he liked to get high…

I said he’s falling like a rock from the sky, There aint no reason, don’t you even ask why, He does what he does, he don’t care no more, He says the normal life is just a Motherfucking bore, With a needle in hand he’ll become a man, How long ago did he realize that no one would understand, He does what he want, he does what he know, He does a little bump, he does a little blow,

Oh, come on man, let me know, Come on man let me know, Come on man let me know, Are you ever gonna glow?

He’s on his hands and knees like a snake in the grass, He’s never happy cause the high won’t last, If he could only stay up for one night, And make it through then things would be all right, He grabs the spoon and now he’s gonna dance, He knows if he looses, it might be his only chance, His visions narrow, I think he’s lost his sight, The battle’s over, but he’s still willing to fight…

Oh, come on man, let me know, Come on man let me know, Come on man let me know, Are you ever gonna glow?

©Tavarus Blackmon, 2019 9

Didn’t listen to his Mama, didn’t listen to his Dad, He just want to get high, it’s the only fun he ever had, Yeah he does what he wanna, Yeah he does what he choose, He don’t care if he win, he don’t care if he lose…

Oh, come on man, let me know, Come on man let me know, Come on man let me know, Are you ever gonna glow?

All Music recorded in Building 961, Headlands Center for the Arts, Sausalito, CA by Tavarus Blackmonster and Derek Kwan, June 2, 2019

©Tavarus Blackmon, 2019 10

The Blue Room, Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

The Blue Room, Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

©Tavarus Blackmon, 2019

The Blue Room, Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

Beats and Feels/The Blue Room, Live Performance/Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

©Tavarus Blackmon, 2019

Beats and Feels/The Blue Room, Live Performance/Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

Beats and Feels/The Blue Room, Live Performance/Site Specific Installation (Building 961, Headlands Center for the Arts, Sausalito, CA), dimensions variable, 2019

©Tavarus Blackmon, 2019

Bedtime, Pop’s Curse (Variation), Full High Definition Video, 3: 41 minutes, 2019

Blue Room (Promotion), Full High Definition Video, 1:01 minutes, 2019

©Tavarus Blackmon, 2019

Beats and Feels, Vimeo, https://vimeo.com/343877507

Beats and Feels, Soundcloud, https://soundcloud.com/blackaudiomonster/beats-and-feels

Bedtime Pop’s Curse, Vimeo, https://vimeo.com/325470668

Blue Room, Vimeo, https://vimeo.com/321657703

©Tavarus Blackmon, 2019

CRUSH THEM

Crush Them

Crush Them, A Computer Music for Text, Breath, Blues, Voice and Processed Jewel Crush

©Tavarus Blackmon, 2019

Composition/Arrangement, Tavarus Blackmonster, 2019

Text, The Stanford Encyclopedia of Philosophy, Prisoner’s Dilemma, https://plato.stanford.edu/entries/prisoner-dilemma/,

Published September 4, 1997, Revised April 2, 2019

Text, Jewel Crush™ - Jewels & Gems Match 3 Legend, https://play.google.com/store/apps/details?

id=com.lyoomatch.jewelscrush.princessadventure&hl=en_US, ©2019 Google

Breath, Girl Breathing Sound Effects All Sounds, https://www.youtube.com/watch?v=jOUp2ODyfns,

Published February 15, 2018,

Blues, Homer Harris - Atomic Bomb Blues 1947 Muddy Waters on Guitar, https://www.youtube.com/watch?v=FeHTeMfCYWw, Published February 19, 2011,

Voice, Zoyaura “The Alcea Samurai,” 2019

Processed Jewel Crush, Jewel Crush 2019. NEW. Levels 1-12.Android Gameplay, https://www.youtube.com/watch?v=gk00Wb-XHIQ,

Published October 29, 2018

Crush Them, Sound Art for Text, Breath, Blues, Voice and Processed Jewel Crush, 20:53 minutes, 2019 ———————————————————————————————————————

©Tavarus Blackmon, 2019

Crush Them

As a conceptual Sound Art Work, Crush Them is a composition made of computer music. With techniques of Music Concrete, each discrete collection of sounds has been previously recorded, uploaded, then download, processed, effected then arranged and composed using the computer. With sounds or, “Instruments,” coming from Academic Institutions, Mobile Retailers, Social Media and a paid assistant, each piece of audio is slowed-down, sped-up, stretched, back-masked, edited, abridged, altered from its original context, e.t.c., and converted into a simple, high-quality, Waveform Audio File for webbased uploading, platforming and audibly, as an acousmatic projection through loud speakers.

Working with an assistant has given the artist distance, similar to the distance in working with Found Sounds, to deconstruct and re-configure the voice into an otherworldly, sensuous instrument with vocal subtleties such as processed, attenuation that make Game Theory feel both sexy and ominous. With text combined from The Stanford Encyclopedia of Philosophy and Google, the concepts of reciprocation, self-preservation and play come together with underlying precepts of Nuclear Strategy and Blues songs critical of the Atomic Bomb. The moan and whimper of feminine breath underscores the fact that the examples of prisoners, Tanya and Cinque in Prisoner Dilemma are female and Jewel Crush has been, “…designed for the beautiful girls.” Which, creates a question about the games we play versus the play of games and how the plight, strategy and negotiation of the American or International Prisoner is merely a sport of theory?

©Tavarus Blackmon, 2019

Crush Them (Image), Vector Art, dimensions variable, 2019

©Tavarus Blackmon, 2019

Stanford Encyclopedia of Philosophy, Prisoner’s

Dilemma, Jewel Crush™ - Jewels

& Gems Match 3 Legend (Abridged, Altered, Combined), https://plato.stanford.edu/entries/prisoner-dilemma/ ; https://play.google.com/store/apps/details id=com.lyoomatch.jewelscrush.princessadventure&hl=en_US, Published September 4, 1997, Revised April 2, 2019 ; ©2019 Google, Respectively

* Document created by Tavarus Blackmonster, 2019 Voice Recording by Zoyaura “The Alcea Samurai,” 2019

*Jewel Crush has been italicized

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

First published Thursday Sep 4, 1997; substantive revision Tuesday Apr 2, 2019

Tanya and Cinque have been arrested for robbing the Hibernia Savings Bank and placed in separate isolation cells. Both care much more about their personal freedom than about the welfare of their accomplice. A clever prosecutor makes the following offer to each: “You may choose to confess or remain silent. If you confess and your accomplice remains silent I will drop all charges against you and use your testimony to ensure that your accomplice does serious time. Likewise, if your accomplice confesses while you remain silent, they will go free while you do the time. If you both confess I get two convictions, but I'll see to it that you both get early parole. If you both remain silent, I'll have to settle for token sentences on firearms possession charges. If you wish to confess, you must leave a note with the jailer before my return tomorrow morning.”

complete the mission goals

It has a beautiful and cute gamestyle, ideal for girls to play anytime and anywhere! unlock the castles in this legend game. Designed for the beautiful girls. Easy to control, fun to play, beautiful! Just swap & match with your finger

©Tavarus Blackmon, 2019 4

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

Designed for the beautiful girls

The “dilemma” faced by the prisoners here is that, whatever the other does, each is better off confessing than remaining silent. But the outcome obtained when both confess is worse for each than the outcome they would have obtained had both remained silent. A common view is that the puzzle illustrates a conflict between individual and group rationality. A group whose members pursue rational self-interest may all end up worse off than a group whose members act contrary to rational self-interest. More generally, if the payoffs are not assumed to represent self-interest, a group whose members rationally pursue any goals may all meet less success than if they had not rationally pursued their goals individually. A closely related view is that the prisoner's dilemma game and its multi-player generalizations model familiar situations in which it is difficult to get rational, selfish agents to cooperate for their common good. Much of the contemporary literature has focused on identifying conditions under which players would or should make the “cooperative” move corresponding to remaining silent. A slightly different interpretation takes the game to represent a choice between selfish behavior and socially desirable altruism. The move corresponding to confession benefits the actor, no matter what the other does, while the move corresponding to silence benefits the other player no matter what that other player does. Benefiting oneself is not always wrong, of course, and benefiting others at the expense of oneself is not always morally required, but in the prisoner's dilemma game both players prefer the outcome with the altruistic moves to that with the selfish moves. This observation has led David Gauthier and others to take the prisoner's dilemma to say something important about the nature of morality.

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

Designed for the beautiful girls

How to play:

You have a specific list of goals in each level. Match 3 or more in a line to crush them.

Match 4 in a row or column to create a special direction.

Match 5 in T create a special bomb.

Match 5 in a line to create special color.

©Tavarus Blackmon, 2019 5

You must have the sharpest mind. Learn to use. If you have any difficulties passing a level you can use helpful props. Combine to make huge chain reaction to help you pass the level. Here is another story. Bill has a blue cap and would prefer a red one, while Rose has a red cap and would prefer a blue one. Both prefer two caps to any one and either of the caps to no cap at all. They are each given a choice between keeping the cap they have or giving it to the other. This “exchange game” has the same structure as the story about the prisoners. Whether Rose keeps her cap or gives to Bill, Bill is better off keeping his and she is better off if he gives it to her. Whether Bill keeps his cap or gives it to Rose, Rose is better off keeping hers and he is better off if she gives it to him. But both are better off if they exchange caps than if they both keep what they have. The new story suggests that the prisoner's dilemma also occupies a place at the heart of our economic system. It would seem that any market designed to facilitate mutually beneficial exchanges will need to overcome the dilemma or avoid it.

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

Special highlights：

it can destroy all in a line.

Bomb: it will can destroy all around it.

Color: it can destroy all with the same color.

Super value gift: Diamond and props power-ups help you pass level

Less moves, More Stars, Higher scores! Crush all!

Pass the levels and try to get all stars in each level.

Try your best to make super combinations with super match!

Colorful crushing effects and well designed puzzles for you to play in anytime and anywhere!

The title “prisoner's dilemma” and the version with prison sentences as payoffs are due to Albert Tucker, who wanted to make Flood and Dresher's ideas more accessible to an audience of Stanford psychologists. More recently, it has been suggested (Peterson, p1) that Tucker may have been discussing the work of his famous graduate student John Nash, and Nash 1950 (p. 291) does indeed contain a game with the structure of the prisoner's dilemma as the second in a series of six examples illustrating his technical ideas. Although Flood and Dresher (and Nash) didn't themselves rush to publicize their ideas in external journal articles, the puzzle has since attracted widespread and increasing attention in a

variety of disciplines. Donninger reports that “more than a thousand articles” about it were published in the sixties and seventies. A Google Scholar search for “prisoner's dilemma” in 2018 returns 49,600 results.Match and quest jewels in fun gameplay to

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

Features:

★ Designed for the beautiful girls

★ Easy and free fun to play, challenging to master.

★ 1500+ well-designed puzzle levels.

★ Daily free bonus in the games.

★ Helpful magical bossters to win.

★ Games you can play offline.

★ No WIFI? No Problem!

★ Classic match 3 game.

Let's go Matching and crushing never stop

Designed for the beautiful girls

Designed for the beautiful girls

Designed for the beautiful girls

Designed for the beautiful girls

Designed for the beautiful girls

Designed for the beautiful girls

Puzzles with the structure of the prisoner's dilemma were discussed by Merrill Flood and Melvin Dresher in 1950, as part of the Rand Corporation's investigations into game theory (which Rand pursued because of possible applications to global nuclear strategy)

Designed for the beautiful girls

©Tavarus Blackmon, 2019

MY LOVE IS CUTTING

My Love is Cutting

My Love is Cutting, A Rondo for Voice, Processed Piano, Text and Virtual Synthesizer

©Tavarus Blackmon, 2017-2019

Composition/Arrangement, Tavarus Blackmonster, 2019

Virtual Synthesizer, Helm (Freeware), Improvisation, Arrangement; Live Mixing, Virtual DJ 8, Tavarus Blackmonster, 2019

Voice, Lyrics and Improvisation, Raynie Izzy Cord-Blackmon, 2017

Processed Piano, The Turkish March Mozart - Rondo Alla Turca, https://www.youtube.com/watch?v=HMjQygwPI1c, Published October 27, 2008

Tavarus Blackmonster, 2019

Text, The Stanford Encyclopedia of Philosophy, Love, https://plato.stanford.edu/entries/love/, Published April 8, 2005, Revised August 11, 2017

My Love is Cutting, Sound Art for Voice, Processed Piano, Text and Virtual Synthesizer, 29:21 minutes, 2017-2019

©Tavarus Blackmon, 2019

My Love is Cutting

This Rondo is heavily influenced by another piece of music, The Turkish March, Mozart. It is a Baroque affirmation of glory transformed through computer processing, into a brooding, complex and experimental wave of Contemporary Sound and emotion. In conceptual terms, the title is a double-entendre, both a direct statement of self-harm and a metaphor for impassioned intimacy.

Unfolding layers of depth in three parts, the Rondo begins with a combination of Processed Piano, with effects and back-masking applied to The Turkish March. Applause, the Definition of Love via text using the text-to-speech application, Natural Reader and the actual uterine heartbeats of the artist’s daughters are included. This movement is a conceptual metaphor presenting coupling, parenting and intimacy in the awkward position of being both vulnerable and explicit through public exposure.

The second movement tantalizes audibly through the back-masking and stretching of, TheTurkish March, becoming less triumphant and more lullaby in mood. Klaxons blare as the artist’s daughter, Raynie Izzy Cord-Blackmon’s improvised voice and lyrics bellow and wail in emphatic tones of childhood devotion. Recorded by Raynie in 2017 on a field device, her vocals have been processed and arranged into the composition by the artist, 2019. The movement is highlighted by repetition, the combination of lullaby and child in relation to Love of the Sibling and emotional valleys and plateaus.

Within the third movement the artist has improvised, processed and composed music for computer using a keyboard and the Helm, Freeware, Virtual Synthesizer. The denouement is a slow fade of phased-out, heavily echoed, processed computer music. The work is composed as an acousmatic recording for loud speakers. Additionally, elements of the Rondo have been made available as a live DJ mix and has been performed at the Brickhouse Gallery and Art Complex, Sacramento, CA as part of a Sound Art exhibition on July 5, 2019.

©Tavarus Blackmon, 2019

My Love is Cutting (Image), Vector Art, dimensions variable, 2019

©Tavarus Blackmon, 2019

Stanford Encyclopedia of Philosophy, Love (Abridged),

https://plato.stanford.edu/entries/love/, Published April 8, 2005, Revised August 11, 2017

*Natural Reader, text-to-speech application, “Karen,” Speed:-4, exported as AIFF, Processed as WAV

A person in a we might find himself coming across something interesting to read yet leaving it for the other person, not because he himself would not be interested in it but because the other would be more interested, and one of them reading it is sufficient for it to be registered by the wider identity now shared, the we.

…our tendencies toward emotional self-protection from another person, tendencies to draw ourselves in and close ourselves off from being affected by him. Love disarms our emotional defenses; it makes us vulnerable to the other.

…while you seem to want it to be true that, were you to become a schmuck, your lover would continue to love you,…you also want it to be the case that your lover would never love a schmuck.

Love is not just an emotion people feel toward other people, but also a complex tying together of the emotions that two or a few more people have; it is a special form of emotional interdependence.

Ultimately, there is only one reason for love. That one grand reason…is “because we bring out the best in each other.” What counts as “the best,” of course, is subject to much individual variation.

…reason is not some external power which dictates how we should behave, but an internal power, integral to who we are.… Reason does not command that we love anyone. Nonetheless, reason is vital in determining whom we love and why we love them.

The intention in love is to form a we and to identify with it as an extended self, to identify one’s fortunes in large part with its fortunes. A willingness to trade up, to destroy the very we you largely identify with, would then be a willingness to destroy your self in the form of your own extended self.

©Tavarus Blackmon, 2019 4

No Pass/No Fail

No Pass/No Fail, A Computer Music for Improvised Voice and Hand-Drum ©Tavarus Blackmon, 2018

Composition, Improvisation, Arrangement, Tavarus Blackmonster, 2018

No Pass/No Fail, Sound Art for Improvised Voice and Hand-Drum, 05:09 minutes, 2018

No Pass/No Fail

Improvised and recorded in 2018, this Sound Art Work conceptualizes the role of the Student from the perspective of the Instructor. The idea of the non-grade is explored as if education was neither based on merit but discovery and introduction nor elite but accessible and entitled. By presenting two disparate voices as counterparts constituent to similar ends, the persona begins emoting with club-like ambiance, with hand-drums orhand-laptop, producing improvised rhythms as palms tap on the surface on the computer while being recorded simultaneously. Conceptually “finding,” lyrics through improvisation, the persona recalls projected ideas about being late, absent and the imaginary fail for general principle. With humor and satire, the voice of the Instructor proposes unreasonable expectations for pre-conceived outcomes, becoming both an authoritarian and irreverent voice.

The voice of the Student discloses intimate knowledge of the experience of a sometimes mischievous and underachieving child yet other-times vulnerable and insecure person. The honest expression of the Student dictates the awkwardness of public education from the perspective of adolescence. To, “…watch Gummy Bears all day,” as is stated, is the goal of the student with none but burgeoning knowledge, potential awakening and public enlightenment before them.

Further themes developed through the composition are critiques of popular culture and Hip-Hop Music, the authenticity of authorship in popular music and the voice as form for abstract sound. The body as an instrument of immediacy and improvisation and technology as an instrument of the body’s expression, specifically DIY Instrumentation, are also explored. It is composed as a Sound Artwork of Computer Music for acousmatic projection through loud speakers.

©Tavarus Blackmon, 2019

No Pass/No Fail (Image), Vector Art, dimensions variable, 2019

©Tavarus Blackmon, 2019

©Tavarus Blackmon, 2019

Synthphony in I/O

Synthphony in I/O, A Synthphony for Processed Voice, Virtual Percussion and WebBased Audio

©Tavarus Blackmon, 2016

Composition, Improvisation, Arrangement, Voice, Additional Lyrics, Tavarus Blackmonster, 2016

Virtual Percussion, Hydrogen (Freeware), Tavarus Blackmonster, 2016

Synthphony in I/O, Sound Art for Voice, Virtual Percussion and Web-Based Audio, 01:04:43 minutes, 2016 Selected Audio

Nancy Sinatra - These Boots Are Made for Walkin’, https://www.youtube.com/watch?

v=SbyAZQ45uww, Published March 27, 2010

Shakira - Hips Don't Lie (Official Music Video) ft. Wyclef Jean, https://www.youtube.com/ watch?v=DUT5rEU6pqM, Published October 2, 2009

Blue Oyster Cult - (Don't Fear) The Reaper (Official Audio),https://www.youtube.com/ watch?v=Dy4HA3vUv2c, Published June 6, 2013

Wall Of Voodoo - Mexican Radio (Official Video), https://www.youtube.com/watch?

v=eyCEexG9xjw, Published April 23, 2010

Real Life - Send Me An Angel ’89, https://www.youtube.com/watch?v=0R6WIbx8ysE, Published September 10, 2008

©Tavarus Blackmon, 2019

Selected Film Audio

Basic Instinct mémoire 2, https://www.youtube.com/watch?v=o1F27Iv0CLw, Published October 22, 2009

Basic Instinct (MON) (STUDIO CANAL), https://www.youtube.com/watch?

v=VJDgpFLLzOA, Published January 7, 2015

Cruel Intentions - Colorblind (Official Clip), https://www.youtube.com/watch?v=h6MlABYTxs,

Published August 13, 2014,

Final Destination - Ms Lewton's death HD, https://www.youtube.com/watch?

v=TphUQcj3szQ,

Published January 24, 2016

The Warriors - Reunion en el parque, https://www.youtube.com/watch?

v=lcYODA0Cmdk,

Published February 3, 2019

Eric Monte Interview

Interview with Eric Monte ( the real Preach in Cooley High), https://www.youtube.com/ watch?v=hrtjtMoLrX0, Published March 17, 2012

©Tavarus Blackmon, 2019

Synthphony in I/O

By using sound as medium, Music Concrete, each discrete audible notion: written, recorded, published, disseminated, reproduced, uploaded, downloaded, edited, processed and finally, composed, speaks to not only Democratic Media but the power of DIY Musicianship in the hands of Gen X computing and artistry. Reagan era Rock and Roll and New Wave mix audaciously and cacophonously with Filmic dialogue in waves of reverberated, processing. It is a pan-ultimate mix; RE the sound of American discontent via the sounds of American discontentedness. And, each honest and misunderstood reflex is oft one of Self Discovery. The artist’s thought through Sound, is that this discovery is one of Danger, Hope and Romance, much paralleling the themes and currents of contemporary society.

Much like the Visual Spaces created by the artist, this Audio Space deconstructs the idea of appropriation by treating otherwise copy-written material as “medium,” and ultimately, presenting the Synthphony as a free and accessible Educational Resource on Platformed Applications. The true Web and thus true Computer Music utilizes the, not exhaustive, capabilities of computing devices: Research, Downloading, Uploading, Recording, Editing, Processing, Codec Definition and further, Image Rendering, TimeBased Media Rendering and initial and alternate Posting and Publishing. The artist believes through instrumentation, composition, writing, vocals and arrangement, that with the addition of Web-Based Media and Computer Processing, a most sincere and exquisite presentation of Music through Sound is achieved. In whole a Processed Sound, for ideas, images, moods, themes and psychologies that are processed through mental cognition and imagination. Synthphony in I/O, is Tavarus Blackmonster’s first major work for Retro Music, moreover, his premier example of a substantial Computer Music.

Movements within the work transport the listener through Sound Space into an atmosphere of sassy rifs, chattering footsteps, haunting popular melodies, Ars Nova of contemporary improvisational lyricism, interview, a dangerous, sexy and exciting filmic sound purge and closing, the vulnerability of a Black youth left Home Alone with the Internet Passwords. It is so, the artist thinks that in popular terms, this Synthphony may not be considered music. But in his brash and irreverent opinion, “…It is more music than what is not music and, the complete sound is a composition: both popular and idiosyncratic, electronic, arranged and notated with formal and conceptual connections to New Music, Spatial Sound (web-based) and Acousmatic traditions”

©Tavarus Blackmon, 2019 3

The Concrete nature of the work puts the artist in a most objective perspective. Through metaphorical and formal connections, instruments (Sound(s)) are material for inclusion within the composition. And, the artist’s interpretation of the media and further development of the work has put him in the position of writing large for myriad sounds (Instruments) including his own voice and improvisation. The work is raw, sincere, vulnerable and affirmative in the triumphantism of Sound. But finally, though New Music was never the intention of the artist, but for delicious audio and conceptual rigor, the Noise of music, voices and languages make Synthphony in I/O a work of codices, experimentation and feeling. The Synthphony in I/ O has been published online and is also made available for exhibition as an acousmatic projection through loud speakers. In promoting the large work, the artist has created a video available online which links web browsers directly to the audio file, further extending the Visual/Audio Space.

©Tavarus Blackmon, 2019

©Tavarus Blackmon, 2019

©Tavarus Blackmon, 2019

Synthphony Video, Full High Definition Video for Synthphony in I/O, https://vimeo.com/360842495

Synthphony in I/O, Soundcloud, https://soundcloud.com/blackaudiomonster/synthphony-in-i-o? in=blackaudiomonster/sets/redlight-greenlight

Synthphony Video, Vimeo, https://vimeo.com/360842495

©Tavarus Blackmon, 2019

THE PASH AEON

The Pash Aeon

The Pash Aeon, Overture to Binding Love (Installation)

©Tavarus Blackmon, 2016

Composition, Arrangement, Voice, Tavarus Blackmonster, 2016

Tiny Furniture, Lena Dunham, Tiny Ponies Production Company, 2010

Screamin’ Jay Hawkins, I Put A Spell on You, https://www.youtube.com/watch?v=PwXai-sgM-s, Published October 15, 2008

The Knack - My Sharona (1979), https://www.youtube.com/watch?v=BR2JtsVumFA, Published July 7, 2011

Del Shannon - Runaway (HQ STUDIO/1961), https://www.youtube.com/watch? v=wSWMJxbxj7c, Published September 8, 2015

Jackson Browne- Somebody’s Baby, https://www.youtube.com/watch?v=M6pT_BDpnog, Published April 21, 2012

The Pash Aeon, Sound Art for the Site Specific Installation, Binding Love (Studio 1, Temporary Buiding 9, UC Davis, Davis, CA), First-Year MFA Review, December 2016

©Tavarus Blackmon, 2019

The Pash Aeon

Working in the Visual and Audio Space, The Pash Aeon is the Overture to the Installation, Binding Love. The Spatial Sound Installation creates an awe and spell-binding experience as moans, wails, echoes and eery sounds blare and reverberate in the Space. The colors red and blue, plastered on every surface of the room, speak to the experience of the Virgin in Art Historical terms. However the writing on the wall, instruments bound down with embroidery thread and yarn and spider-like “webs,” of thread dangled overhead, create what is more anguished than absolute, more hindered than absolved.

Art Historical references to French Painting; inside jokes; Musical references to children’s songs and the theme from Seseme Street; Literary references to Dr. Suess and children’s books; color; paint and sound making devices adhered to the ediface, all establish the work as an Interdisciplinary, Immersive, Spatial Sound Installation with formal connections to not only differing mediums but varying Schools within the Humanities. The exquisite nature of detail, touch and materiality of the Installation are prefaced by the Overture, The Pash Aeon, as the Sound Art Work plays in looping manner, guiding viewers and listeners through what could only aptly be described as a presentation in Sight and Sound of the artist’s mind.

©Tavarus Blackmon, 2019

The Pash Aeon (Image), Vector Art, dimensions variable, 2019

©Tavarus Blackmon, 2019

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

©Tavarus Blackmon, 2019

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

©Tavarus Blackmon, 2019

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

©Tavarus Blackmon, 2019

©Tavarus Blackmon, 2019

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

The Pash Aeon/Binding Love, Acousmatic Computer Music/ Site Specific Installation, Studio 1, Temporary Building 9, UC Davis, Davis, CA, December 2016

The Pash Aeon, Soundcloud, https://soundcloud.com/blackaudiomonster/the-pass-aeon? in=blackaudiomonster/sets/inside-of-you

©Tavarus Blackmon, 2019

©2023 TAVARUS BLACKMON ART™ LLC