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Interview with zan

Robert Stevens from has some questions for zan regarding

Start where you stand

June,2022 presents a new interview with
Zan Burnham of ZAN ZONE

mwe3: Where does Start Where You Stand find Zan Zone in 2022? Sounds like you cover all the bases both musically and topically too on this wonderful album.

Zan Burnham: Start Where You Stand is very much where Zan Zone is right now. Great songs, excellent recording techniques, and awesome performances that are at the high end of skill, effort and expression. The songs, especially on this album, are mostly all meant to expose and illuminate aspects and issues of everything that’s been going on in society: our continued war mongering, the assault of the planet, and the debacle of current world governments with their criminal approach to all of the world’s people and problems. Certainly, these issues are ongoing and hopefully this album is one more prompt to everyone to look deeply into everything, to question authority, and to act on our insights and growing understanding of all of the corruption and essentially evil agendas of so many powerful people and institutions.

mwe3:How much did the activities of the past two years influence Start Where You Stand and specifically the title track, although I think it was written before the pandemic? It’s certainly been a very challenging time in history.

The past two years, if they’ve proven anything, it’s that life is utterly unpredictable, and tough times are always like a wolf at the door who pushes his way in, way too often. Certainly, when we started this project around March, 2019, few on Earth knew what was likely coming. We didn’t. Yet, while searching for meaning, truth, and some positive response to many of the issues confronting all of us, the album presciently walked right into the global pandemic as if the album was intended, from the start, to be generally about many of the same underlying issues.

Of course, we were far from completed with the album when it all went down. Most certainly, it affected the project big time, including some lyric tweaks and extraordinary emotional displays and intentions in the performances. Everything we were doing had that extra buzz you have when you feel you’re onto something incredibly real, and highly au courant. I felt we were capturing the zeitgeist and while we really didn’t even want to capture it so much, it was inevitable.

mwe3: As far as reaching the most listeners possible, did you set out with a goal in releasing Start Where You Stand?

Zan Burnham: Zan Zone’s essential goal for Start Where You Stand is to bring us to a much wider audience. A band can’t just rely on friends and acquaintances to support them. A band needs a much larger group of listeners and potential fans in order to afford to play live and to elevate their status and the public profile of the band. These days, with so many old revenue streams for musicians just gone, it’s absolutely critical that audiences support artists or it’s just impossible to bring a band to a level where it’s self-supporting. What business can survive without resources and income? None, for very long. So we hope Start Where You Stand will finally put Zan Zone on enough music fans’ radars in order for the band to become a legitimate player in the larger musical universe.

mwe3: There’s been some changes in your personal life as well as changes in the Zan Zone group lineup, including the passing of your wife. I remember the hardships you went through with Marilyn’s passing. Tell us about her. She must have been very musical as she’s been with you through the entire Zan Zone story. Also, your daughter Arianna adds in the missing piece in the Zan Zone four-part vocal harmony.

Zan Burnham: My wife loved my music. She played Zan Zone often in her car and was incredibly supportive of everything I did. A published poet, her perceptive critiques of lyrics are noted on the lyric page for “Survival” - comments: Marilyn! It’s amazing having Arianna on the album. She sings with us live sometimes, too. I knew she had a special voice growing up and it’s like adding another cool “instrument” having her in the band. It also gives us the classic two boys/two girls vocal approach, which has tons of possibilities. And, everyone sang great.

mwe3: Other Zan Zone changes on Start Where You Stand include bringing in co-lead vocalist Angela Watson Modeste. Tell us about Angela joining Zan Zone

Zan Burnham: Angela Watson-Modeste is an answer to a dream and a prayer. When our former singer, Sabrina Clery, became too busy with her own band and music, we needed not just a new female lead singer, but an awesome one, and we surely found it in Angela. She’s a delight to work with, a total professional, and someone who’s lovely singing goes right into your heart. She’s a dream come true. While she sings on most of the songs, she only has 2 & 1/2 leads and we hope to get her to sing more and more as time goes on.

mwe3: Start Where You Stand begins with “Bad Dreams”. How does the song set the tone and mood? Was that song directly influenced by the events of the past two years? How does the part about the animals all leaving town relate to the messaging of “Bad Dreams”?

Zan Burnham: Bad Dreams, originally about a changing and dangerous environment, morphed seamlessly into the whole pandemic experience. The unknowns, the fears, the oppression from hidden places, they all became added to the song’s original emotional intent and the last two years have only strengthened the song’s current relevance. It really kinda sets a mood of foreboding and offers warnings, which are themes explored on much of the rest of the album.

The lines about the animals refer to the current high level of species going extinct. It’s way beyond what’s called the background level. There’s general scientific agreement as to what constitutes an extinction event, and we’re in one. Animals also represent inner instincts and intentions; they act more on feeling than thought. They know the game is over, and they’re leaving. When do WE figure it out?

mwe3:The new Zan Zone album title, Start Where You Stand was inspired by Joe Raposo’s and Philip Dessinger’s track of the same name. Is the song about war in some “God-forsaken place”, as Phil describes it? The lyrics also describe “cyber war from an office chair, so there are a lot of contrasts in the lyrics. Is the song “Start Where You Stand” ultimately about hope or a plea to everyone?

Zan Burnham: Certainly, SWYS refers to wars in general, and specifically recalls numerous conflicts in The Middle East and Asia - even Africa. All places for proxy wars fomented by the USA and other States. The anonymous man Philip mentions in verse one could stand in for millions of folks who, while just trying to live their lives, are caught up in these huge political power plays playing out on a planetary scale. And no one’s life is worth a damn. It’s among the worst expressions of human activities.

Cyber war from an office chair refers to those remote video-game like stations where, from thousands of miles away, soldiers watching video screens can launch missiles, etc., and literally kill other people.
Does killing get much colder than that? So the song is both a plea to stop all this violence, and for the hope that humans will rise above this state-sanctioned killing before we all kill each other.

mwe3: Is “Watchin’ The World Go By” a possible single from Start Where You Stand? Is there a single track or video coming to YouTube or social media? Sounds and reads like a scathing indictment of the world today. I like the last line “it all goes by in the wink of an eye, In the best line of the week”, priceless! Seems like Global warming is almost an afterthought in the world of 2022! I guess Greta van Thunberg is having a meltdown by now!

Zan Burnham: Interesting that you should ask that. Traditionally, singles have had to be as short as possible for many reasons, but WTWGB is the longest song on the album! It is, however, very entertaining, especially with the Oceanside scene for a bridge. We are very much thinking of visuals at the moment and I would love to do something for WTWGB. But actually we’re just about finished with a lyric-video for Start Where You Stand, and while lyric videos are fairly simple with no real motion pictures, we still think it’s gonna come off pretty well. The RandomAxe Records Art Department spearheaded by Jera Denny, is doing a  fantastic job with limited resources. You’ll soon see.

WTWGB IS a pretty scathing indictment of our world today, for sure. It feels great to sing those honest lyrics! I love making puns and little quips as the days go on, and sometimes you hit on one, or hear a good one, and it’s just the funniest line of the week! And boy, does life go fast…

People are so distracted by so many issues, and it all gets so overwhelming. It’s very easy to miss the many gorillas in the room - and there are many. Last summer, at times, Siberia was hotter than the tropics. A couple of places in the southern hemisphere this past “summer”, had their hottest days on record. AND! I’ve also seen where we probably SHOULD be headed into a cooler period, if not another ice age, yet - something’s not right. Something’s going on. The Earth is a big place, and grinds slowly through all of the assaults, but if you’re willing to dig deeply, there are a gazillion concerns out there with the environment and God help us if something cataclysmic happens. Actually, I’ve been reading for years that one notable early sign of real trouble would be issues with food. Now of course, some of our current issues with food shortages are man made. But not all…

mwe3: “I Won’t Live A Lie” is possibly my favorite Zan Zone song on Start Where You Stand. Philip takes the lead vocal on that track yet the harmonies are really the centerpiece. Your guitar solo on that track is truly scathing! You seem at odds with the consensus being mouthed by the mainstream news. Seems like we’re caught between a rock and a hard place. Who is that picture on the lyric page for “I Won’t Live A Lie” in the Start Where You Stand CD booklet? Didn’t Patrick Henry say ‘give me liberty or die before I try’?

Zan Burnham: Thank you! Yeah - IWLAL is a very exciting track. Like the whole album, this song just came out great, and it’s a gas to play the guitar on! The mainstream news is generally filtered through various corporate and political ideologies, and is essentially completely untrustworthy. My song is quite at odds with their whole philosophy.

The young man with the rifle on the lyric page is a statue on the field of what became known as “The Minuteman”, who was ready in a minute if called to battle - as the legend has it. Here, he is immortalized in what was known as the battles of “Lexington and Concord”. That was shortly before the Revolutionary War officially began, and it heralded a real willingness on the part of the colonists to not just resist the British, but to fight, and be willing to die. I actually had ancestors/relatives at the Concord battle back in the day! I’m sure Mr. Henry would’ve loved IWLAL - though his line was “Give me liberty, or give me death!”. However, I wouldn’t mind adding for Zan Zone: “And give us a hit record too!” In those times they didn’t HAVE hit records - though in 1775, Yankee Doodle might’ve come close…

mwe3: As great as the first four track are on Start Where You Stand, it seems you break new ground for jazz fusion with track 5, “Extinction: Rebellion”. Just the title alone kind of tells a story of fighting back. Tell us about “Extinction: Rebellion”. It seems like you’re breaking new ground on that track. How many guitar tracks and actual guitars are you featuring on that track? Also, it’s a good example of your playing with your killer Zan Zone rhythm section of Saadi Zain and the band’s new drummer Marko Djordjevic. Sounds like there’s a kind of Pink Floyd type of guitar solo, seems very clean yet there’s also some compelling picking going on too. Is that track fusion or prog, or both?

Zan Burnham: “Extinction: Rebellion” refers to a movement started in England which bases itself on the idea that humanity - and much of all current life, is in distinct danger of extinction. There’s a convincing book about it out there. It’s a real possibility. My piece, musically describes a great build up to an explosion of action, activity, and combustion, leading to a climax, and then destruction, followed by a nightmarish, other-worldly afterworld, and even that too, collapses… The other number, “Extinction: Romp” is more about how we’re all full of frolic and jolly, ‘romping’, as we gallop headlong towards the edge of the cliff…

mwe3: Although “Extinction: Rebellion” ends with a bang, the next track “Baby Cried” sounds like a Top 40 style Motown pop track. Angela’s vocals remind me of Diana Ross. Did you write the track for someone special? Did you set out to write a catchy, soulful R&B kind of track? Tell us about the origins of “Baby Cried”. You told me someone else wrote that song?

Zan Burnham: The origins of Zan Zone date back to the 1990s. For about a year in the early 90s, a guitarist and singer named Donna Bersch, played with us. Donna and I also carried on a bit together as well during that year. It was a great time. Donna had been getting back into the guitar and was writing a little when we hooked up. One song she wrote, Baby Cried, about her adopted daughter, really impressed me. It was a real life drama about Donna rescuing this four year old girl whose parents had both Oded. True stories from the first person perspective can be among the most powerful of song types. That’s what this is and I think Donna nailed really her feelings here, and wrote a great song, too. Of course Zan Zone runs the song through our rock-band filter with extensive guitars, background vocals, and a kind of 70s soul sound and groove. What’s not to like? And - Angela nails it! Diana Ross is an excellent comparison here, but Angela really makes it her own. Classic piece.

mwe3:“THAT” is a great duet between Angela and Philip. It’s a very wordy track, kind of Dylan-esque. Is it about relationships? It’s got a little erotic kind of vibe. What are your favorite lyrics in “That”. Plus you have a great Flamenco guitar solo, which adds in a lot, backed by a wind machine a la “She’s So Heavy”. Also why did you capitalize the title?

Zan Burnham: THAT is three vignettes, tied together with the crazy chorus. Verse one is about betrayal, verse two is about lust, and verse three is about life. I like the expressiveness in general of all of the lyrics. The line “Wounds of my restlessness” is pretty descriptive and thought provoking, concepts that great  poetry is known to reveal. It was a lot of fun to kinda go wild with the lyrics. It’s truly what they used to call an “Art Song” in that it has all sorts of non-commercial elements, and has plenty of them, and - amazingly, all to a disco beat! You can dance to THAT!

The “wind machine” was Marko’s idea which he got from a 1990s era Bjork song. More wildness! You can keep reinterpreting this number over and over. Because THAT is  just so kinda weird, it fits to make it stand out even more by capitalizing the title. It’s not often you get a four-letter, one word title. THAT!

mwe3: “One Step Ahead Of The Red” is another showstopper track. You wrote that with Phil? How do you guys write? Are you and Phil the new Lennon / McCartney of Brooklyn? How did you meet Phil and how would you break down the track? Tell us about your guitar solo in that song. It rivals Clapton on “While My Guitar Gently Weeps”. Tell us how you recorded the guitar solos and the track.

Zan Burnham: Philip came to me with mostly completed lyrics for two verses and the chorus for OSAOTR. He also had a basic melody. The first thing I did was to find a supportive chord progression to harmonize his melody. Then I had Philip write a third verse. We both tweaked the lyrics here and there. I actually did get a couple of lines in there, and then I wrote a bridge and Philip wrote some more lyrics, and that was basically it. I personally find it hard to write with anyone in the same room. I’ve certainly done it, but prefer the no-distractions environment. Of course, I wouldn’t say any method is bad. Whatever works!

Philip and I met in college - Manhattanville College - which is about 20 miles outside of NYC. We actually wrote our first song together there though it was a few more years before we really did some things together. This song is one of the best we’ve written together I think. It really captures the desperation of someone trapped on the treadmill of working but only really making just enough to survive, play around a little, but always ending up barely just making it and taking bad stuff just to cover your feelings of despair. I tried to make the guitars sound super blusy to bring out the cries of, and the angst of what the protagonist is experiencing. And yeah, it has a real Eric Clapton/Derek & The Dominos sound. I’m pretty happy that it came out that way! I used an awesome Tom Anderson Drop Top guitar which, like the Strats Hendrix and Clapton used to use, is super expressive and lent itself really well to the deep bends and soulful notes that I got from the guitar on this number.

mwe3: Is “Survival” a McCartney inspired message of hopefulness? Tell us about Marilyn’s artwork / comments in the song lyrics for that track. Was that song one of her favorites? How did you layer the vocals?

Zan Burnham: The music to Survival is really more influenced by The Who than Paul McCartney, with its big power chords and dramatic drum kicks and fills. And yes - it IS hopeful in that I pray that we as a species will come to our senses and treat the planet as a friend, not a victim we’re mugging. That said, Marilyn DID find a flaw or two in the lyrics. She was a published poet and was great with words. She went through all of the lyrics on the project and this was the only song where she found a few issues. Her questions are on the lyric sheet page. It’s kind of funny, but also it’s a little memento and keepsake from my late wife.

The vocals were quite challenging! They had to be mapped out extensively. But everyone did a really great job on this. It’s a gas to hear all of the vocal parts worked out. It reminds me quite a bit of some of the more complicated arrangements Brian Wilson used to do for The Beach Boys.

mwe3: “Hot & Cold” is perhaps my favorite song on Start Where You Stand. Talk about a New York track, this is it! It has a kind of White Album effect with the Lennon-esque screaming ending. Funny, that’s NYC in a nutshell. Running hot and cold! Is that a song you wrote for Start Where You Stand or does it have a history like some of the other tracks? Is the song about conformity and mixed feelings about towing the line?

Zan Burnham: That makes this your second #1 favorite song on the album! I guess you can have more than one!
When we were first working on this track, I told Marko that I felt it has a kind of Little Feat quality to it. As Marko is primarily a jazz drummer, I wasn’t sure if he was familiar with Little Feat. However, Marko constantly surprises me with an absolute voluminous knowledge of drummers and music and experiences you’d never expect from him. SO, it was a bit surprising but not unexpected when he said that he was quite familiar with Little Feat since he had done a whole tour in a backup band playing on the bill with Little Feat, and that he and Richie Hayward had become good friends during the tour. So much for me wondering about his knowledge. So while the song does have some of the toughness of New York, it also has the funky rhythms of the New Orleans based band, and Marko, of course, nails it.

The song started life a while earlier as just a candid recognition of the realities of life stripped of pretense and false dreams. It’s a song about discovering what’s truly real in life and what it is that we can actually count on and hold on to - and ultimately, there ain’t much there except your core values and a belief that everything is all for the good even if the lessons can be hard.

mwe3: “Holdin’ You Tight” is a great way to close Start Where You Stand. It’s a kind of bittersweet way to close the album. It sounds like you wrote it for Marilyn but it’s also a cool love song and a relaxing way to close a pretty intense album. I’m thinking that’s Angela on lead vocals.

Zan Burnham: After Armageddon, after the revolution, after civilization has crumbled all you might have left is one special relationship that you’re trying to hold on to. Or even just the memory. HYT is hopeful yet sad. You just don’t know if you’ll see your loved one again but that the memory, if that’s all you have, sustains you as nothing else will. It also works just as a symbol of loneliness and the hope that the separation will end eventually. We’re all so often separated from who and what we love in life. It’s an inevitable part of life and something we’re all constantly trying to reconcile - at least at one time or another. But the heart doesn’t forget, and if all you have are your memories, well, sometimes, for some folks, that’s all you get, and it must be cherished or what was the point of life to begin with? And wow - Angela sings this as if she IS the last person on Earth still willing to express undying love regardless of any chance at future happiness or contentment. Her vocal on this song is one of my favorite performances on the album and I fall in love with her each time I hear it. I also would like to give a shout-out to our bassist, Saadi Zain, who’s playing absolutely perfectly compliments my guitar work on this song. It doesn’t get much better than this.

mwe3:Is Start Where You Stand a kind of New York album? I remember the great albums made in New York and there were quite a few! Start Where You Stand really rises to the occasion so to speak. Maybe you can put NYC back on map. (welcome to the walking dead… lol) Tell us about working with your engineer and something else about how was the album recorded. No one uses tape anymore right? hahaha

Zan Burnham: Sure - SWYS IS from a NY band (us!) and certainly the city and its people influence the music. It’s got plenty of tough love and sharp observations. New York folks are quick to observe and have opinions on all sorts of issues and we feel that with this album, we’re pulling back curtains and revealing all sorts of truths all too obfuscated by all sorts of entities. New Yorkers hate the bull crap out there in the world, and especially in the media and government, and Zan Zone is certainly no different. We want the truth revealed and positive forces applied to improve things. There are plenty of zombies here in New York - as with everywhere - yet some of us try to maintain a quality of honest integrity and pursuit. I think the quality of the music reflects that.

Our engineer, Chris Benham, is just at the top of his field. He solved all kinds of problems in the making of the album, he put his whole being into making the album, and he just helped make the entire project glow with an unprecedented sheen of quality and excitement. He added in his own creative ideas and really was like a seventh band member for this album. It was a delight to work with him and, in our opinions, he helped make this project really one for the ages.

We approached the album in numerous ways with some tracks starting as live trio basic tracks at Chris’ studio, and some tracks with me starting some songs on my own in my home studio. Some songs had drums on them from the get-go, and for some, we added them in later. Certainly, Marko and I spent months rehearsing the songs so that the drums and guitars would seamlessly lock in with each other emphasizing all sorts of rhythmic elements. My relationship with Marko reminds me of how Jimmy Page described working with John Bonham where Jimmy felt that with John, his music was, for the first time, truly having the rhythmic structure brought out that he was always searching for. And no - we did not use tape! It might be nice to do it that way as certain elements do sound “richer” on tape, but there’s only just so much complexity a project can handle before it just becomes burdensome and you lose sight of the main purpose, which is to record some songs and make them come alive.

mwe3: Wow the Start Where You Stand cover art is a bit iconic, I think even unnerving.

Zan Burnham: I’ll take credit! The cover was my idea!… Feet in mud. Like early humans. But tracks, footprints, history… whoever it was… has moved. Moved on. Marched. DID SOMETHING. It’s about taking action and boldly pursuing your dreams, and hopefully, for good! Of course, brilliant art director, Jera Denny, took my rough pictures of my feet in the mud in Prospect Park, here in Brooklyn, and made the whole scene look iconic…

mwe3:Tell us more about the feet in the mud photo sessions in Brooklyn with Jera. Muddy Burnham! How far do you live from Prospect Park? Is that area safe to walk there at night? You were born in Manhattan. I was born in Brooklyn but moved to Wantagh at 4! I do miss Brooklyn. What do you like best about Brooklyn? Tell us something about your neighborhood. What are your favorite parts of Brooklyn? Do you still like living in NYC? Not the same as it was in the late 1960s and early ‘70s right?

Zan Burnham: The cover IS a bit unnerving! It has something about it that reminds you of fossils and footprints from the past. Who was this? Where did they go? Did they survive? The footprints imply that while someone WAS standing here, they made a move, they had a dream, they started where they stood and did SOMETHING. That’s what the album is about: not being passive, but rather, taking matters into your own hands (or feet!), deciding on a goal or destination, and moving towards that dream.

I live about seven blocks from Prospect Park, which is a beautiful park. It’s mostly safe but as in most cities you still have to be on your guard. I don’t present a particularly attractive target for muggers and thieves being still fairly young and robust. Muggers don’t really want to confront anyone who might fight back and I might! It’s always important to know where you are and what can happen.
Brooklyn is an amazing place and it’s the fourth largest city in America on its own. It certainly has the best - and worst - of any big city. But there’s an amazing diversity of people and, of course, it borders on the Atlantic ocean with miles and miles of beaches which not so many cities have. It also has a great history. The first big battle of the Revolutionary war was fought here and it has been at the heart of the birth of the nation in so many ways. I like living here but it can get a bit intense and loud! I do crave some quieter space from time to time and I actually hope to be able to spend regular time away from the borough as time goes on. I was pretty young in the late 60s/early 70s and at that time my family had moved to Stamford, Connecticut for a few years, which is about 30 miles outside of the city so, for better or worse, I didn’t get to experience the City so much as a wee lad.

mwe3:We are still talking about the assorted carnage from the pandemic. Have you ever seen a more divisive time in US history? Not since Vietnam in the 1960s and 70s. Is there even a time (left) for every purpose under heaven? Any predictions for 2023, this time tomorrow?

Zan Burnham: The Vietnam era was certainly highly divisive in America, but events and situations today might take the cake for being just about as divisive as that time was in our history. Of course, The Civil war was pretty damn divisive too! A million Americans dead! That’s probably been our #1 toughest time in the USA so far. But the last two years have just been awful. Powerful, hidden forces have attempted to manipulate all of us in ways that we’re not even completely sure of. It’s been frightening and mysterious. Down has been up, and vice versa. Solid ground has liquified and scary realities have floated into the sky only to rain down difficult uncertainties and situations. Almost no one has been happy. We have all been subject to diabolical forces with no sure plan or way to combat them. We’ve been stuck in a bag punching the air. It has drastically upset all of our good, normal natures and made everyone question what is real and what is not, with no certainty that we are making the right observations and choices. Yet I do believe the indomitable spirit of humanity will prevail. It just may take a good bit more time to work it all out. And hopefully we will re-emerge with a new birth of freedom and renewed pledges and hope to survive and thrive in the revealing light of truth.

mwe3: So how does a veteran rock band survive the roaring ‘20s, albeit 100 years after the original RT’s? Zelig? Anyone? Even with an album as good as this, what are you hoping to achieve this time around? I guess the pandemic era will continue on with all its scare tactic messaging. How will you be using social media and youtube to promote Start Where You Stand? You were talking about going on Tik Tok and Instagram too? Are you planning that 60 second infomercial for Start Where You Stand? Any new marching orders from Zan Zone command?

Zan Burnham: Honestly, I don’t see how any legit Rock n’ Roll band is surviving anymore. Once Colin Powell’s moronic and phony son Michael, who was presiding over the FCC under Bill Clinton, promulgated the so-called “Telecom Modernization act of 1996“, all music, but especially Rock n’ Roll has been subjected to censorship and control by heavy-handed corporate entities who have done nothing but stifle the voices of independent minded writers and musicians. There is no rock scene now as there was in the times between Elvis Presley and Nirvana. It’s mostly all glad-handing entertainment which strives to be generally uncontroversial and tame. Anything beyond that is de-platformed and minimized by super-controlling corporate masters. It’s a total 1984 scenario and few people, especially young people who’ve never quite experienced the opposite, are quite aware that this is what has happened. They think it has all so blissfully and naturally evolved into this cardboard pop or generic and obscene rap - which is really not songs and music, it’s sound design with spoken word, dumbed down for people who only want to respond to base and salacious sloganeering which trivializes anything perceptive that it may occasionally have to offer. We live in dark times. I don’t know how we’re going to get out of all this. In Yellow Submarine, The Beatles suggested that we all band together and sing our way out. Perhaps that can work, but so far - not so much. Everyone really needs to take stock of what’s happened and that can only occur if folks are willing to dig very, very deeply in order to get a clue as to how and why this has all happened and, at the very least, to make personal changes in their lives and make their lives stand for something.


Somehow, I idealistically fantasize that Zan Zone can be a change agent inspiring millions to, as Shelley put it over 200 years ago  “…Rise from slumber, in unvanquishable number…”. This would be by far the best-case-scenario. Kind of like how so many Rock n’ Roll musicians, et. al., were able to illuminate the atrocities of The Vietnam War, and those of our criminal government which fomented that despicable conflict. If and when it comes up today in conversation, I like to ask folks how the murder of around 3&1/2 million South-East Asians have made their lives better today. Of course, absolutely no one can answer that because the fact is, that it did nothing positive for any of us. Period - except for some really good protest songs! The CIA likes to say that it kept China from taking over the area, which is a complete lie. And our government has done nothing BUT support giving China the keys to the kingdom, enriching itself and its friends, while destroying the middle class in the USA. Great. Who votes for these clowns?

Getting a great sounding rock band out and playing has become incredibly expensive. Sure, you can just have a trio, crank everything to eleven, and impress people who have forgotten that the real great music in Rock n’ Roll has always had tons of subtleties in the music. No one wants to think about this anymore and are just accepting a compromised version of what some of us were privileged to experience all those years ago. Certainly we hope to do more than a few videos and, if we can somehow reach a large audience through the alleged promise of New (Social) Media, perhaps we can get a large enough audience which will allow us to gamble the many, many thousands of dollars it will take to get our live act back up and running at an incredibly high level of presentation. But unfortunately, it DOES require quite a bit of money. Almost no one can afford to put in hundreds of hours of work for free these days. Life has become just too expensive. As I said: The PTB have found all sorts of ways to quash the small but powerful voices of rock musicians and their music. Zan Zone will do its best to fight the good fight and bring truth to power, and great music to everyone. Salute! And march on!!!


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