Soundwave: 1733 Purpose

First and foremost this magazine is in the realm of pseudo-journalism that I would like to call objective opinionated analysis. To summarize, this is NOT a journal designed for the following:

Hit pieces
Slander
Album Reviews
Fluff pieces
Drama
Other Bullshitery

This music journal is intended to spotlight artists, venues, music related shops and festivals. All through first hand accounts as much as possible, my descriptive analysis and thoughts on live shows, albums, merchandise, tours and more. This is no way meant to pit artists or groups against each other but rather to give some sort of meeting place for the Kearney area to distribute the work through a print and online magazine

In my descriptions I will be analyzing current performers’ aesthetics and art direction in reference to artists in music history, both underground and legendary. NEVER is an article intended to be taken as gospel or “The Final Word” on anything, but only taken as a means to participate in a conversation.

1. Sponsor List

2. SoundWave: 1733 Purpose

4. What Is 1733?

6. Cover Story: Music Is Different Now?

11. Favorite Albums

12. Live Music: The Decline?

14. Abroad Nebraska: Kearney

18. Musician Spotlight

22. Editor's Notes

Throughout my time living in Kearney for the last six years one rule of building and road construction remains true: “The railroad was here first.” Now to a lot of younger folks who are excited for the latest whip, or for those enamored by the promises of all electric vehicles, the conceptual reach of the railroad industry seems like something from the distant past. However, here in Kearney their influence remains.

1733 is a long forgotten piece of Midwestern and American lore that has escaped our thoughts for 134 years. A number that was once intrinsically tied with the identity of Kearney Nebraska itself. It remains one of many symbols of the unique identities that each state in the Union once held, down to their cities and smaller localities. These identities, not made of ideas of material things, but ones more abstract and thought provoking, one’s that make you remember to ask “Where Am I?”

1733 is a number that references Kearney Nebraska as the center-point of the United States of America, as True Middle; where all roads meet, end and begin, Where All Roads Lead.

It tells a wandering (but not lost) traveler that they are in fact 1733 miles from San Francisco California and 1733 miles from Boston Massachusetts. Between Alcatraz Prison and Fenway Park. Placed at the very center of the US and all of its history. Though you might find yourself confused on your coast to coast journey when you look at your GPS:

“It’s not 1733 miles driving to Boston OR Frisco?!”

And you would be absolutely correct, but you must remember the rule in these kinds of areas. Where there might be dissonance on your road journey, the train conductor outside your window knows the truth.

“The railroad was here first”

Being that is it the center of the United States, it is fair to assume in turn that it is somewhat of a “core” of all encompassing combinations of the other parts that makeup its whole. In a way its fair to say that it doesn’t get more American than here. Again, being that it is the center also means that every kind of person or representation thereof has passed through this area. Here no one is excluded and everyone is welcome.

In my time living here and visiting annually beforehand, I have felt that to be the truth. That Kearney Nebraska is the center of the United States and most everyone is welcome, so long as they provide something back to the community in turn. While writing this I even thought to myself that it would make a fitting Capitol to the US in some alternate universe; and in my research I found that I am no where near the first to think of this.

From the years 1835-1907 there walked a man named Moses H. Sydenham who has a grand proposal in 1870, one, that as a born and raised Texan I have found to be very interesting. In 1870, Moses (as a Statesman) proclaimed that there be a new US Capitol. One in which our emerging rail system could spring forth from like the geometrical center of a flower. In his own words

“I claimed that if Congress passed the act providing for the same, that railroads would center there from all points of the compass, and a large city grow as if by magic; would stimulate business in all the eastern cities and be an impetus for developing the then undeveloped central plains of this republic in Kansas and Nebraska; make our nation’s capital safe from foreign attack, and bind all sections of our country together in one harmonious bond of business.”

Though now a long lost campaign and project left on the dusty shelves, its apparitions still remain. 1733 being one of those old relics that point to a time when things could’ve been vastly different than they are today. There was once a precipice that could’ve landed Kearney Nebraska as the Capitol of the United States.

A few questions I want to leave you with is:
“What does that US Capitol look like? Sound like? Move like?
(Let us know your thoughts for a future editorial)

In closing, who says that being a capitol is solely about a spot on a map. Who says it has to be wholly political reasons and not cultural ones? Why can’t it be a destination in the mind or a place for the soul to come alive? Our communities are what we make them, there is no one else to decide that for us.

1733 – Kearney Nebraska – 40.6993° N, 99.0817° W

Why Music Feels Different Today & “The Swedish Invasion

By Teja Vedurumudi

When you throw in an old CD or lay down a vintage vinyl record, you are greeted with the familiar sounds of a time passed. A lot of groups like Santana, The Who, The Beatles, and Moody Blues serve to set a mood and paint the timescape or contact some kind of a “vibe” to fill the space. These select choices of sound are titans of their era, definers of entire genres of sound, and so vastly different from each other in innumerable ways, and at the same time, they can be easily and dishonestly be wrapped together under that one, cohesive, tangible, and easy label.

No matter how many milestones were set, boundaries broken, once they’ve reached the top and are all but required to have their music played for all eternity, they are slapped with that all-encompassing label:

Pop

Now, to the casual music listener in America, Pop may be thought of as a genre or a title that is given and that cements one’s work or body of work as “more important” than others. The reality of the situation however, is much more simple: it’s just popular music, that’s it, nothing deeper than that. People like it a lot, even if it was sold to them in a flashpoint moment. That’s it, that’s the only metric: popularity statistics based on rate of sales, return on investment, brand recognition, etc., and in the 21st century, in the world of Web 3.0, that metric changes by the second. “Long term, important cultural impact takes a back seat to fleeting, short term cultural relevance”

“Does your relationship to popular music matter that much to you?”

“Does a music’s popularity change it’s appeal to you?

“What does the term ‘timeless music’ even mean?

To my “you’ve-never-heard-of-them crowd,” no one is saying that Pop music is “better.” It is simply ‘in demand’, for whatever reason: marketed or organic demand. However, even what is trendy changes with the times. Sure, it might stray away or double back to some trends from before, in a way. But there is still progression from what came before, it always a little more different each time, IYKYK. The reality is, every bit of “modern” art builds on what came before in some kind of way, that perspective, however, is in the hands of the composers and not the listeners. A few questions I think about a lot are as follows:

“What was modern then, is classic now; so as we praise artists from Tchaikovsky to X (RIP) and everyone in between, what will they think of US tomorrow?” Now imagine it was only our music that remained…

“How much of a role do YOU play in finding the next Lynyrd Skynyrd, Nirvana, Guns n’ Roses or Dead Kennedy’s? Who carries the flag of Metal to create the next Lamb of God and Slipknot?”

What I’m trying to chip away at here is that Pop is the most fluid, ever-changing label of music that there is. Our generation’s version of what we think pop is is completely different from what the generation after us will envision Pop music to be.

Look at how bands like the Beatles are received today. Sure, they are considered one of the bands of all time, but people today want to look more into the way they were as people at this point, rather than be taken up in the facade and marketing of their brand that would have bombarded even the modern mind at the time. Today, they are still relevant but no longer as the near-gods that were ”… more popular than Jesus.”

To expand, I was brought up outside and away from the Beatlemania washout of the 90’s, I never understood what it was all about then, or how it could’ve been important in the 60s. Over time, I began to realize not only the beautiful musicality that played a part in their success but also the perilous line that they walked in the uptight and definitely not “hip” America of the 1960’s. While their homeland of Britain had had a youth explosion not too long before.

They had to pave their way with their music and compositions but also had to walk the tight rope of the clean cut, down-home, relatable marketing campaigns throughout all of that time. Masquerading their use of Schedule l drugs as playful theatrical banter and sound-play in works like Sgt. Pepper or The Magical Mystery Tour. Even at the time, the Beatles were even recommended to “tone down’ on their Far Eastern influences in works like Rubber Soul and some of their solo works. They were effectively being asked to stop expanding their abilities; they were being asked to clean up their sound, and make it more marketable. But in their own ways, they circumvented policy and refused.

In my opinion, it was these oddly changing parameters and moving goalposts by label-runners that led to some of their greatest inventions in music as a human art form and largely contributed to the mystique of The Beatles. Leaving questions like:

“Where did they learn how to write like that? Are they in a cult? Maybe they are gods? Maybe they are just better?”

(All questions that are still asked about today’s pop musicians)

In my opinion, it was none of those things, they were just constantly writing, arranging and rewriting and rearranging to fit a newly emerging, post-War cultural mold with no solidified identity. They were not yet in place in time where they defined the time in which they lived, that comes with the passage of time and retrospect. They were still The Beatles, and show hadn’t ended yet.

Now, with retrospect, we look back on the Age of The Beatles, The British Invasion, and all of the gorgeous music that came from Delta Blues in comparison with our own modern music and some of us feel a few feelings:

It’s all changed and will never come back.

We’ll never have another ____ again.

Today’s music is lacking ____.

They are imitating ____, so they aren’t authentic.

One of the many realities that either co-ops these questions or answers them in a different way is the recognition that much of today’s Pop Music is heavily influenced by a country that we don’t think about very often here in the States. One that since the early 2000’s, hell even 80’s and 90’s has taken the foundation of popular music and how its written in the US and fundamentally changed the playing field and mechanics of the game.

Sweden.

Again, I am dead serious, most of the soundscapes that you hear in today’s American Pop Music were more than likely composed over the sea and/or internet in Sweden; or by Swedes in America. Now this is not a witchhunt piece here, this is vital information to the question “Why does music feel so different now”?

I myself was looking and looking for years trying to figure out what the lynchpin-point is where music suddenly felt like it was all different. From composition style, to recording methods, to the messaging of the music itself and more.

When I said earlier that the musicians I had named in the first paragraph were distinguishable from each other in innumerable ways: the Latin flair and crying guitar that only Santana can bring, the stadium shaking vocals of Roger Daltrey of The Who, the literary allusions of Led Zeppelin to name a few. I put that up against today’s Pop Music, and while today’s music may sound very similar from song-to-song to the untrained ear (that was me once too), there is actually a very good reason for that. Cultural Differences. However, something changed.

ABBA and the “Swedish Music Miracle” that came after them which saw many Swedes climb the Billboard in the late 90s and early 2000s.

From there, most of today’s popular artists collaborate heavily and/or are heavily influenced by Swedish producers. Damn near anyone you can think of too, The Weekend, Katy Perry, Maroon 5 , Taylor Swift, Ellie Goulding and Ed Sheeran, not to mention a myriad more.

Now this is not some industry secret, no I did not just hand you the Voynich Manuscript of The Evolution of Pop Music. It is openly known, hell, probably even recommended to achieve a certain level of industry quality. But to the unqualified listener it may be in part, a revelation.

Now, if this information happens to hit your ears as a revelation, an already turned page with all our beautiful American folk in the rear-view mirror…. I tell you to slow down, bring it back, smell the roses, hear the music.

Just because the harvest is not as homegrown as once thought does not mean the fruit is not healthy or necessary for growth.

The reality is, just as it was with The British Invasion in the mid-60s that laid the foundation of all the music we enjoyed together for the last 60 years: The Swedes Are Here, They Have Been Here; Their Influence Is Already Taken Hold.

Does this mean we have to battle back? To create an uproar, and spout rhetoric from the dark ages and let it be known “who is better than who?” No. We evolve into the next chapter, we integrate what we’ve known over time alongside that which we learn in the present time.

American music is not dead, it is in metamorphosis.

I fully believe the future of American-homegrown-Popular-music lies in the hearts and hands of each musician in every small town across America. If that is you, then it is up to you. If you’re a listener, then it’s up to you. If you’re a dreamer, a visionary, it’s up to you.

Put that pen to paper, lips to the microphone, fingers on the guitar and grip the drumsticks.

It’s Gonna Be A Long Night

Marion Gunn & The Wanted Ones
Heaven Has To Fall
Nebraska, USA

Dale!
Dale!
Kearney, NE, USA

How To Be A Better Person
Akira The Don, ft. Alan Watts
United Kingdom

SWAMP
Lil Darkie
Long Beach, CA, USA

I’m not sure when it began or if it began at all. If it is an undeniable truth or if is a product of subjective experience. However, the song remains the same, sang throughout the halls and passed the walls by anyone above a certain age:

“Music Is Dead”

Is it though?

Not to disavow anyone of their experience in this ever changing landscape that we call music, but I ask because depending on who you are, didn’t your parents and grandparents say the same at one point; about Emo music, Grunge, Heavy Metal, Psychedelic Music, and even GOD FORBID, THE DEVIL’S VERY OWN: Swing Music.

Hasn’t it always been that way? We finally get comfortable in our youth where we’re able to express ourselves in a way like never before, due to these new and innovative sounds that caress the inner ear and activate the mind. Then suddenly and it feels, as if, without warning a tide comes and washes those good days away; and left in its place is something new…different…..unfamiliar.

And if that wasn’t enough now these unfamiliar beings take to our stages and perform their ritualistic sacrificial rites. Right?

Insanity. Cognitive Dissonance and Malarkey

Every musician that ever lived and had the audacity to pick up an instrument or a microphone, did so because they believed there was a place for them in the arts, in music; maybe even in history. From Paganini to Robert Johnson and forth onward to you and yours if you are a musician or friend of… reading this. Yesterday, it was about being famous and wealthy, today it is about being heard within the mass noise, in its rawest form of meaning. To have more than just your presence felt, but rather, your story told.

And I’m not just talking to or about the vocalists and lyricists here. Have you seen a man make a guitar weep, the drums blast with the anger of 1000 cannons, a bass player carve through the swampy undergrowth? No? Then you must listen, you must see it again, re-examine with your mathematical, historical and/or sociological eye/ear.

So often we look, whether consciously or unconsciously , for the next big thing, for the next ground floor that we can get in on; to say that we were there from the beginning. For venue owners, of course, it is in their best interest to get in with a band before they skyrocket and cost a pretty premium, that, in some ways is understandable or should be.

However, as listeners I feel that when we do this, we miss the point by a country mile. We miss the part where we ask “Does this make me feel something?” or “Am I a different person after experiencing this?” In many ways we keep the most potent feelings at bay when consuming any sort of art nowadays. Too many folks trying to get with the next big thing instead of giving themselves the opportunity to have a near spiritual appreciation for what is here now.

“Well yeah, feelings aren’t conducive to getting that dollar.”

Correct, but that’s not for the listener to bother with. As a listener, if you are not giving your full attention to the performance, you’ll miss the whole point. If you miss the whole point, you may miss a rite of passage opportunity to face certain aspects of your life via music and performance art; after all that is what art does: comforts the disturbed and disturbs the comfortable. Moves the idle mind without it’s will.

To elaborate: if you miss the opportunity to confront certain aspects of your life through music. Then you miss the economic impact that you have on the scene,forget that, you miss the abstract impact that this seemingly random organization of sound may have on you! . If any music scene was truly full of un-moving, soulless music, then there would be no industry; from the bottom up.

Does that settle in?

Without you, the listener, the one who translates the objective /subjective piece into personal meaning, the one who gathers friends and travels from place to place to see their favorite music, the people who save their check to buy that damn merchandise:

Don’t Let Industry Executives Fool You

Popular Music is A Facade

Without You There is No Music Scene, No Art Industry.

With That Kind Of Power, Comes the Responsibility to

Consume the Art With Personal Honesty

To Define the Culture We Leave Behind In The Way You, And You, And You, And Even You

See Fit

For too long have industry executives pushed onto us what they wanted us to hear; and too long have the listening masses sat in silence and accepted these offerings as the pinnacle of musical achievement, all while letting our neighbors, fellows citizens of locality and state flounder in obscurity.

This is the kind of thing that cannot stand.

Since I have moved here to Kearney Nebraska, I have seen and incredible share of music that is borne from the soul, laid bare to anyone willing to listen with an honest heart.

I think often of the men that live just above The OtherSide and never fail to make an appearance, or the many groups and acts who claim Kearney as home. And it doesn’t have to be just Kearney, the surrounding areas have incredible acts that gather here and are welcome every day. From folks gathering in Gibbon to change the face of Grunge-Psych music, to the gentlemen recording in Overton in an effort to paint the western landscape; to every soul or group of souls hidden in the vastness of the Corn Husker state and the equivalents beyond to anyone reading outside of Nebraska.

In then simplest terms, if you are a local, a townie, a tourist, a transplant and immigrant.. a Man On The Run:

Visit you local venue tonight, talk to the regulars, swallow your fear or pride and sit with a band, whether you enjoy them or not. Pace yourself and don’t ask personal questions; they are just people.

That’s How We Begin Again…

Buffalo Record & Skateshop and The Vinyl Revolution
19 E 21st St, Kearney, NE 68845

Kearney, NE; Buffalo Records opened in 2015 as a passion project for Rex and Bryce, two Kearney Nebraska natives who brought their love of records back from the brink. In a seemingly innocuous move that is part of a larger revolution, the world over!

For some context, the general consensus among the record collecting community is that vinyl record sales began to suddenly decline sharply between 1988 and 1991. When looking at the charts of record sales alone, it seems very unexpected and seems as if it happened all at once; when the reality is very different. Though 8 Tracks and Cassettes existed in parallel, new mediums of music were rising to stake their claim; this including Compact Discs and the entirety of the internet as we know it today.

Fast Forward to 2007 and the first rumblings of the Record Revival as it is called; however it would take time for the medium to reach the form it is in today, which we will talk about later. In the late 00s musicians began experimenting with the medium in ways similar to HipHop, Rap, & R&B artists in the late 80s and 90s. Not only did sampling from records become more popular but so did the multilayering of these samples due to new forms of music being pioneered through DAWs (Digital Audio Workspaces), all of which required records to sample the BEST uncompressed qualities in each record.

Fast Forward again to 2015 and we have Buffalo Records opening its doors on 19 E 21st St in Kearney. At first offering a selection of records made up of parts of either’s collection as well as donations from others looking to offload seemingly innocuous records. In 2017 the last big box stores said they would no longer stock CDs in store. It is understood that the rise of MP3s and the revival of vinyl records contributed to the overall subversion of the compact disc.

Buffalo Records has since participated in many Record Store Day celebrations. This is an International event, these are select days of each year when special album releases are pressed on vinyl in vibrant colors or sometimes for the first time ever on either solid black or a rare multicolored press!

Buffalo Records has also expanded their stock to include store branded merchandise and skateboards from various notable brands. With each new section that they bring to the store they also offer special orders on products such as vinyl, skateboards, parts and accessories. Rex and Bryce’s and their respective wives’ dedication to this music medium as well as the dedication of thousands of others just like them have helped revive vinyl records as a medium. This has helped two and half generations discover music that some feared would be lost to time! Allowing a new generation of collectors to rise up as well, but that is a different story.

The World
Theatre

SHOWS
EVERY
WEEKEND
New Seating
New Upstairs

Popcorn
Drinks
21+ Small Selection

The World Theatre – Kearney, NE

Central Ave & 24th Kearney NE,68847

The World Theater is much more than just a fun place to watch movies with your date on a weekend or get a $5 Movie Ticket to a movie that hasn’t been in circulation in thirty five years. It is also a totally volunteer-run operation that helps create the effect of walking into a Vaudeville Era theater in the middle of 2023. Weekend night after weekend night the volunteers work to create one the cleanest, politest and otherwise transporting movie experiences depending on what you are witnessing.

I know that for most folks in the modern day when someone says Theater it usually makes us think of a movie theater with modern movies, however this is a Theatre first! Theater, second. Meaning that even still you can catch a live production put on by one of the local theatre groups, you may even find yourself at a traveling stand up show.

The facade of the theatre itself is breathtaking and takes me back to a time when the arts were a highly respected form of expression regardless of the medium. Upon entry you are greeted with what feels like a trip through a scriptwriters study on the left and a sweets shop right out of the 40s on the right. The seating in the viewing room itself is stadium style so that no one’s head will be directly in front of someone else’s. There is also a balcony section and elevated table section as well for the local craft beer and wines that they have available at the concessions stand.

I myself had the opportunity to see Ben Bailey from Cash Cab and his stand up routine that he did in 2023. It was a great time and what an atmosphere to see it in. I blinked and thought I was watching a production at the Majestic Theatre, but no! Such an experience is right here in Kearney Nebraska! I urge our readers to catch a movie there on a weekend evening.

Kearney, NE:

Marion Gunn & The Wanted Ones is the local Nebraska band with an extensive history in the scene.

The following are excerpts of an interview that can be viewed on YouTube on our Pending Recognition Podcast; some of the questions here are present in the podcast itself and others are from clips that were left on the cutting room floor. Since it was our first recording with new equipment we did have trouble transcribing some audio.

Ch -Chuck Cl – Cliff W -Waylon T – Teja

Ben was not able to join us that evening, but will in the future

………………………………………….

W: “How is your process when it comes to…writing lyrics?”

Ch: “I mean, I just think of one line. One line comes to me and I think ‘okay what’s the story based off that one line’….just like Last Man Alive, I just said ‘If Heaven Has To Fall, I have the best seat of them all.’ ….so whats the story behind that? How do I fit that into the context?”

W: ….“I’m glad you brought up Last Man Alive, that is one of our favorite songs! I know he (Teja) has this whole idea of what it means but we would like to hear it from you.”

Ch: “Yeah, so that is like…about a guy in space watching the world burn”

T: “Sorry I’m tweaking a little bit, that’s crazy, I’ve always had that image!”

W: “I’ve always equated that song with the Fallout story (video game, and Amazon Prime show), atomic bombs, mushroom clouds; ‘one after another’. ” But yeah, every time I go to one of your shows I get this feeling of something like a cowboy novel kind of vibe. Like it’s not quite country, its like a folk song about this cowboy who has lived his life and this is his story”

Ch: “Kind of yeah, that stems from growing up watching every John Wayne and Roy Rogers movie ever. My grandma had them all and I watched them all and 90% of them are really…good! So I grew up with Westerns and I just love the Western idea.”

….

W: “So I feel like you guys kind of workshop your albums onstage. I feel like you solidify your songs and then play them live five or six times and then you go ‘okay that’s right’.”

Ch, Cl: “Oh yeah”

W: “So do you guys have some kind of special way that you go into the studio where you go ‘alright this is how we are going to construct our album’? Like the setlist (construction) there verses the setlist for a live show?” W: “How is your process when it comes to…writing lyrics?”

Ch: “I mean I feel like you can tell what songs are better….developed. I mean I had about 30 songs going in to record this album (Heaven Has To Fall), and I would play a few songs for the guys and they would tell me which ones were good, and I have my own opinions as to which ones are good.”

W: “…do a little work shopping by playing them all and then you see their eyes light up and you’re like ‘oh, they have something, and their gears are already turning’.”

…..

W: “So when y’all do live shows, do you guys take the Frank Zappa approach of being totally clean or are y’all more of the Stevie Ray Vaughn: you gotta be sh*% faced in order to get that solo just right?”

Cl: *joking* “Black out on stage every time, you know this (laughs)”

Ch: “You know, I have a sweet spot. I get too many nerves if I don’t have a little bit, but I always try to hit that sweet spot because it I have too much I’ll play sloppy as f*%#.”

W: “Yeah! Just gotta… get buzzed enough to know I’m not nervous…”

Ch: “It’s stupid you know (being nervous), how many times do we play at The Otherside? But I saw an interview with Slash where he said that every time that he gets on stage, he is still nervous…and if you ever lost that you should just stop playing.”

W, T: “Yooooo”

W: “…you still nervous, but you’re ready to do this, you’re excited”

Ch: “Yeah and we’ll do stuff that we’ve never done during practice…

W: “Just see if the crowd hates you, right? “

Ch: “Well I’m sure the guys hate me for it…”

Cl: “Na its always cool”

Ch: “But its just like, you’re feeling the crowd and they want more and I’m gonna give it to them.”

…………………………

I don’t want to big this down with too many words. It has to be seen to be believed.

When Marion Gunn takes the stage, the listener should conjure images of the Wild West,

bank carriages and lone drifter who just blew into town from some unknown origin; the sounds of penitent souls moving on the wind.

Marion Gunn represents a sound that has no real description, each listener will super impose their own preferences and experiences into the tracks; and the music allows for it! It allows you to step in the boots of each of its characters, to decorate and accessorize yourself in this soundscape presented to you.

Are you in the Badlands?

Are you in Space?

On a Horse? Perhaps in a car?

In many ways, any words that I could down here would only describe Country or Folk music. However, Marion Gunn is so much more than that, it’s a movie, an experience in real time. Whether you are watching them play live or listening to their new album “Heaven Has To Fall” (pictures above), you cannot deny the spirit that moves through this music; the same that moved Woody Guthrie, Dylan, Cash and Willie. The same rebellious spirit that guided Tom Petty, Hank Williams II, III, IV.

Though all of those names were country/folk oriented, it is a familiar spirit, one I have met before. In Metal concerts, at Rap concerts, and Punk….controlled riots. It is something that drives and itself moves off of unique expression and refusal to fit in a comfortable label.

Whatever that is…

They Have It.

Follow Marion Gunn & The Wanted Ones on social media and streaming services!!!

Editors Notes

Thank You So Much!

Email us and tell us what you want to see featured, tell us how we could do things differently or what we are doing right!

Also email us if you would like to write for this publication!

Before I go, here is a bit about me. I myself have traveled the world for about 28 years, and fancy myself an amateur music historian. I will die on the hill that I am a 90’s kid since I was born in ‘94! Moving on, I grew up in San Antonio surrounded by Hispanic culture and music, yesterday’s and today’s. My old friends, a band called Good City Modern (check socials) , and I used to hang out in the music scene of SATX, ATX and I would frequent trips to Houston; all for concerts and networking. Throughout my time in Texas I have become great friends with many musicians in all ranges of age, and always found a thirst to know how music was made, marketed and remembered through the history of man.

My mother has recently retired from her role as Director of The Music Therapy Department at the San Antonio State School and my father is an alumni of the International School of Bangkok of which he toured with a group known as The Young Internationals, which serves similar in vein to a USO show, hold the American patriotism. I will also state that I am nowhere near as practiced as any of the musicians I will write about, which is why I don’t feel it’s my place to criticize up and coming artists. I have my preferences as anyone else would; my style boundaries are well defined, but my perspective is open.

My aim is to place Kearney Nebraska and its (re) emerging music scene on the map and help our community create an atmosphere that we are not only proud of, but proud to maintain. My focus is exclusively on Kearney for the time being, but we hope, through your readership, to expand further soon!

Editors Notes

There are some updates since the last issue.

Firstly, SoundWave:1733 will be based officially out of downtown Kearney, as we have acquired an office to continue our work. Secondly, we have launched a website for the magazine that we’ll have all kinds of other features once we can get updates. This was all done in an effort to cut down on paper usage and to give readers a way to follow links for more information and research.The secret third thing is that SoundWave:1733 and its parent company Musician Connection will be dropping a podcast at some point very VERY soon. By the time of this issue’s publishing the podcast should already be out since we are trying to get that done as soon as possible. Currently I am one person working to make this issue directly from my own pockets. In the future we will also be launching an online component to this magazine in an effort to cut down on paper usage and to give readers a way to follow links for more information and research. In the future I hope to be able to gather the resources necessary to conduct meaningful interviews and hopefully even sponsor some concerts for various genres. I really do love this town, and I know its growing, leaving behind certain qualities and coming to know new ones. My goal is to help administer some healthy dialogue into our scene so that we can be united and recognize who our friends our out here in this seemingly overconnected world. Remember folks, it takes a village to change the world.

In the future I hope to be able to gather the resources necessary to conduct meaningful interviews and hopefully even sponsor some concerts around Kearney for various genres. I really do love this town, and I know its growing, leaving behind certain qualities and coming to know new ones. My goal is to help administer some healthy dialogue into our scene so that we can be united and recognize who our friends are out here in this seemingly over-connected, sometimes inauthentic world.

Remember folks, it takes a village to change the world.

If you want to suggest any stories, new sections we could tackle or want to submit your work, Email Us!

No part of this magazine was made with ChatGPT or any other similar generative AI constructs.

“We have to create culture, don’t watch TV, don’t read popular magazines, don’t even listen to NPR. Create your own roadshow. The nexus of space and time where you are now is the most immediate sector of your universe, and if you’re worrying about Michael Jackson or Bill Clinton or somebody else, then you are dis-empowered, you’re giving it all away to icons, icons which are maintained by an electronic media so that you want to dress like X or have lips like Y. This is shit-brained, this kind of thinking. That is all cultural diversion, and what is real is you and your friends and your associations, your highs, your orgasms, your hopes, your plans, your fears. And we are told ‘no’, we’re unimportant, we’re peripheral. ‘Get a degree, get a job, get a this, get a that.’ And then you’re a player, you don’t want to even play in that game. You want to reclaim your mind and get it out of the hands of the cultural engineers who want to turn you into a half-baked moron consuming all this trash that’s being manufactured out of the bones of a dying world.”

― Terence McKenna (1946-2000)

soundwave1733@gmail.com
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