The Soulless Hearts

Our planet surges with soulless hearts whose pulse maintains the tick of life. In this life as a tick, the soulless heart feeds off of the blood of others ensuring its parasitic progression to the end.  No soul thrives in hematophagy because the soul represents the immortal essence of living things.
Soulless hearts have no shame nor remorse as they entangle those whose hands toil long hours into the depths of abject poverty, watching while their serfs build the products of the company. The corporate Acari pay deplorable wages to the masses whom they employ as they gush, overfull from the blood of their workers. As the plutocrats enrich themselves further, swimming in a cesspool of greed, the depression of the human lives from which they feed grows with each living breath.

Collectively, we are many; workers who can unite and march for our multiple causes. But we become entrapped in our daily living to serve others, to feed our families, to educate our children, to stand up to another rising sun and begin anew in a 7-day-work-week that has no end. As we watch the entitled break laws with no remorse while authorities ignore the violations, we sink deeper into the abyss of estrangement. This world, our precious world that we hold so dear, ripples from the incarnate evil of corporate malevolence.

How much longer will we allow ourselves to continue to suffer? How many more days, months, years, do we count (not) living as laborers, wage earners, proletarians?

{INSERT: slow-motion film edit of multiple images of the power of the worker as we rejoice in the music and lyrics to  “Our Day Will Come”.} click the link & listen.

If I only had time to create this video, but there is so much work to do…

Soulless  cdc_illustration_of_tick_removal  strength.1

About danaj33

I have been teaching in the Broadcast Electronic Media Art department at City College of San Francisco since 2001. I was a part-time faculty member until 2009 when I became full-time. My career as an audio engineer spans 27 years since the first day I began to record and mix songs on my Tascam PortaStudio (cassetter 4-track) in the early 80's while attending college at UC Berkeley. I formed a couple of bands and sang lead (sometimes playing rhythm guitar) until 1988 when I discovered that the "behind-the-scenes" tech realm was much more to my liking. I love how an audio engineer controls the ENTIRE sound mix, and not just one's own instrument. I then began a career as a live sound engineer in earnest and have toured extensively throughout the U.S. and Europe as front-of-house sound engineer for a multitude of bands on various record labels (most notably "Medicine" on American Recordings) and have been a staff engineer at the venerable Bottom of the Hill nightclub since their inception in 1991. The club and its staff are like family. I have maintained a live sound production company since 1989 called dcj Productions that has provided sound to the Bay Area community (mostly in the non-profit sector) in both large outdoor sound events as well as nightclubs and music halls. In 1991, I started recording bands on an 8-track Tascam TSR-8 analog tape recorder and moved into the digital realm in 1993 to 16-tracks of Alesis ADAT connected to a Soundcraft Ghost console in my home studio. In 1995, I advanced to Pro Tools and have been recording exclusively digital ever since, combining audio skills in sound for film as a location recordist as well as an engineer in post-production sound design and mixing. I remained "strictly analog" in my live sound mixing until just this past year (2012). Now that one can obtain a decent, live sound digital mixer at an affordable price, it was high time to check out digital for live. I now have a Presonus StudioLive 16.4.2 to work on with my students to give them much needed hands-on experience with a digital console. I co-owned and ran APG Records & APG Studios, an SF record label and recording studio, from 1999 - 2004 which had a distribution deal through EMI. The company folded in 2004. I continue to record music and engineer live performances at many Bay Area venues in addition to full-time teaching at CCSF. In 2001, I was hired to the part-time faculty at City College of San Francisco in the Broadcast Electronics Media Arts department where I have taught many of the classes including Digital Media Skills (BCST119), Basic Audio Production (BCST120), Digital Audio Production (BCST124), Sound Recording Studio (BCST125), Sound For Visual Media (BCST126), Advanced Sound Recording (BCST127), Sound Reinforcement (BCST128), Audio for the Web (BCST135), Video for the Web (BCST136), and Field Video Production (BCST145). I have also taught classes in sound design, audio for animation and games, music video, and computer applications at Art Institute of California-San Francisco, Globe Recording Institute, and Laney College in Oakland, CA. A few CCSF Projects: - Produced a promotional video for the Math department Bridge Program titled "Quadratic Rap". - Produced a new employee orientation video for the Human Resources department at CCSF - Coordinated audio for camera - SF Mayoral Debate, Fall 2011 - Coordinator of Audio Industry Advisory Panel for BEMA, Fall 2011 - Co-Coordinator of Video Industry Advisory Panel for BEMA, Spring 2012 Outside Affiliations: - past Vice President and Interim President Board of Directors - Bay Area Girls Rock Camp - past volunteer/contributor to Women's Audio Mission - past member Bay Area Women in Media and Film - current member of Audio Engineering Society - current Board of Directors for Camp Reel Stories
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One Response to The Soulless Hearts

  1. Pingback: Ode to the Worker – Let It Rain | Dana J

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