Oh, incidentally, it being 1977 or 1978, we were all totally crocked on Columbian (which sold for about $35 a lid in those days) at all stages of the game, composition through rehearsal through performance.
Except for the trumpet player, who hated dope and brought his own liquor, and Cramer the guitar player, who was into Jesus and stuff and didn’t desecrate the temple of his body.
I’m surpised I could even find middle C.
Carpe Felem, "SqrlCub, I love the Chaotic Pencils story and must respectfully insist that you exhume both the name and the concept. But can you clear up a technical point for me? Why do you drop tune the instruments?
We dropped tuned all the instruments to make the “music” deeper and even more evil sounding in our minds. It actually made it sound more like deep feedback with a beat. I take it that you have never heard grindcore music if you did you would know that the “singer” is really just grunting things to a beat. One of my favourite songs at the time was by Napalm Death and the singer sounded like, “RRRG RRRGHHHH RRGHHHH, RRGGHHH RRRGGHH RG…” That translates to “There is a wall 12 thousand miles high and the same amount wide…” Most people didn’t get it. 
I am glad that you liked the Chaotic Pencils story. It was such a cruddy time musically but it was funny needless to say. I will have to do something.
I am currently working on recording several of my own original pieces which as I said earlier is a crossover between various genres of classical music, folk, and jazz. I think I might want to start playing the didjeridoo again and throw it in as well.
HUGS!
Sqrl
SqrlCub, I’ve never even the term “grindcore,” which goes to show I’m even further out of the mainstream than I suspected. Hopelessly antiquated. But thanks for clearing that up.
Least I know what a didjeridoo is (if not how to spell it), and I have to agree it would add an interesting dimension to virtually any classical/folk/jazz fusion.