Fish in pint glass on suit logo copyright design 1989 Trapani.

The project from 1989 onwards, in `brief': If you have the creativity, what can be done musically, live with some co-musicians, and recorded, using a microphone stand stuck into a weighted bucket, limited gear, no hugely enormous record corporation investment or marketing sales firm and without dodging tax, whilst working at other jobs? And how much effort would some musicians and administrators working for some other people, go to get in the way of it and the making of music and other artwork, and why?

None of Peter Trapani's music(scores and-or recordings) were ever legally released to the public on disc or in standalone file formats including . Fraudsters at least, intervened. So any file copy is easier to identify, report and trace to source; and may lead to a reward... Stealing (piracy) removes money investment in commercial projects herein, unconnected live music / theatrical stage projects of third party companies and discressionary donations to charity as well as denial of income to the livelihoods of the people behind performances exploited legally through this site. If genuinely "poor", an individual would be far less likely to have their own hand-held device connecting to Internet, unless they were a crook working for others or someone had given it to them as a gift.



"RONNIESCREECH & THE SHAVED APES" (product name by Peter) *recordings* from 1990 to 2006 are gradually being prepared for on-line activation as media programs for P.C. at least, to test a new kiosk page, Apetunes.co.uk.

The reliable, good and legal amongst the co-musicians from the past (including any genuine music pals from earlier rock n' roll days) are welcome to make contact and `strike up' or in some cases, continue existing audio release agreements, if they wish. The 2014 project revisited writing and music to date, again with miniscule budget, to make more of these recordings accessible to the set of people who kindly sought access to them, and hopefully involving some of the previous crew at least.

None of these recordings was in any form, legally issued as a whole at least. They were in several cases, issued by common criminals, sometimes sold on to tax-dodging salesmen and wanabee music promoters running dodgy digital duplication schemes on `home burned' CDR. In some cases, a Jewish ***looking*** man who finally admitted to it in 2002, began sending material to other companies on Peter's behalf, and without any right to do so, in the form of illegal and sometimes mutilated copies. This included mixes sometimes never intended for distribution at all, and some illegal dubs by student musicians. Additional drug dealers from a charity organisation, also obtained private property and attempted to intervene and turn Pete into their `gofer'. Other people objected to the songwriter not wishing anything of his to be used to exploit any communist states, and so blocked an application to one organisation on what read to be those grounds.

Pete began to find more mobility in his left arm again by 2010, after some damage of 2002. Where usable in form, in part or in whole, retained material is being revisited as it was created, including some of the more sucessful of home recordings (sometimes aimed at showing co-musicians how a song went), like a sort of multi-media `journal'. If some of the co-musicians realising Pete's scores at the time, did not agree to be included in any song material planned for upload through `programs', then potentially each `part' can be replaced, though the aim was to maintain the `integrity' of how it was at the time, in the case of more sucessful recordings. The budgets for the recordings are to also be `dug out', so there's a `measure' of what could be achieved with what resources, and so on.

A small handful of `know it alls' in Somerset have explained it's all a waste of time and that they could do it as well if they "didn't have to work". Noted. An A-level music student of 2012 has also explained that she doesn't feel people should be allowed to put music `out' unless they'd studied it in the way she had. Noted. And so long as both persons don't use Pete or anyone working on these things to promote their trade or income, there'll be no need to pursue you for damages / advertising fees.

The current on-line project is currently being run from a hallway floor and a tent, with no chairs or tables, and no `writer's block' therapists.

Further enquiries about use of / licensing of music scores from the same library can be received initially by email as before. Ta to "Bazzer" and "Dave" from up North!

The fellow musicians and two British school representatives who previously showed interest in doing `choir' versions of two of Peter's songs, are still welcome to maintain contact about same. The project and everything associated with it was held up, but never cancelled any more than any other aspect of Peter's life and work. It's just that sometimes you have to put up with the problems of other people, whether you're on a higher or lower budget at the time...

No further approaches (as in 2002/03) please from fashion models seeking material, unless it's through a business or agent. Neither Peter or two of his associates at least, can provide any support for you or make you rich in that way at least. Maybe try a `talent show' or something like that, through professional agents for that kind of persuasion of show or performance. There's a lot of it about, and you're bound to find someone, as with millions of others.

More information about the later 1980s and early 1990s amateur definition illicit video footage of previous line-up(s) is welcome on-going. The last crop were including references to businesses which were just using others in ways agreed. The agreements didn't extend to illicit video recording of 1988-1991, and any `dosh' got back from those times is still useful and saves others resorting to `what goes around comes around'...

Information is also welcome on the idiots who have confused allegedly, within a business, the song library of some `Polish strummers'(quote) -nothing wrong with that- with the set of music scores which Peter wrote. It wasn't clear in April of 2014, what had started the confusion, but the guy who came forward may provide some useful information about a wider illegal situation, if he would like to give some more information with some `pin point accuracy', in the same way! The initial data was genuinely use -thanks- but for anything to be acted on, it would need to pinpoint home addresses, and even then there would need to be more information on how it was being `passed on' digitally. If you can provide that, then it's likely something could be pursued, once some of the other damage of year 2002 is caught up with. It's irrelevant what the wider `industries' might state. They've got the money to cover it, and many of them are Unionists scratching each others backs. None of us had that kind of support, from ealiest creative projects onwards. If the guy mentioned before is actually running a shop as well, as implied, then again, they've no business using anything this end in conjunction with anything mainstream. They have their own money backing for their various `ranges' of products. So yes, definitely interested in all the detail as with the video recording frauds(1990) which came from an informant who provided a link on that shark of a photographic service. The latter guy was loaded with cash. He just used to scab it off people and not do the job. Pass 'em on -please do.

Gig Information


Stalled by criminal intervention: Awaiting update and future performance slot information...

In time, a line-up previously planned for `Put Can't In Yer Pocket', `Parliament', Satellite, Addiction(Car), We Have All Been Cyborgs, 'Shy and other songs, may reappear.

Summary of RonnieScreech'

Music written and in most cases in mixes to currently be used, performed entirely by Pete Trapani (who also wrote songs for use with `The Grassmen' and previously, a rock n' roll act of the late 1980s), with supporting visuals from 1989 to 2004 and 2013.

'Screech emerged prior to `baggy culture' and was stalled by criminal intervention. It was often produced on a highly restricted budget compared to mainstream labels, due to circumstance, though `renovated' using modern digital production techniques, canabalising copyright recordings which had been `cleared' for use of performances. The band as with earlier rock n' roll line ups which led to it, was fronted by Pete Trapani. Content probably fell into the indie categories, with some more `in your face' tunes, love songs or ballads, the odd waltz time ditty, a little `punk', reggae, ska, and other influences - the lot - all rolled in, depending on what was being explored through a song on each occasion.

Above: By year 10 of performing entirely original compositions alongside the `proper jobs', after the earlier live work, converted business units were utilised through hire (for money payment), for rehearsals. These kinds of facilities later became `free' for many, post 2003.

An album `Parliament of Owls' involving year 2004 recorded material was stalled by a Government employee and some more criminals and a false bomb hoax allegation from a libellous man who began writing to one of Peter's relatives.

The live act emerged just before the 1990s `baggy culture'. The act really came into its own as a threesome, sometimes foursome unit by 1990, after a line up billed `All Above Board'(1989). The performances were interlaced with a handful of solo gigs which led to the product name `RonnieScreech and the Shaved Apes' (sometimes just `RonnieScreech' if Peter was with others, ironically, the `Apes' in the title suggesting the idea of `us and them'). It gradually became more practical to address songs on a track by track basis, the notion of `albums' arguably becoming less relevant as media started to become available on line.

A small handful of cult gay tv fanatics tried to later stop `Ronnie' when accusing Pete of being homophobic because he objected to some sex acts being carried out by complete strangers in his home when he got home from the day job in 1999. Some additional forgery was understood to increase tension and stir them up a bit, through more copying, this time using a photocopier machine and through digital distribution of what was likely adaption of a role play reply to a task set Peter by an approaching Jewish looking man, issued 29th October 2003, who was unlikely Jewish anyway, and which may even have reached the hands of one employee of a private security firm (yet to be established).

Peter's songs, recordings of himself and sometimes, himself with other co-musicians, are now gradually being made accessible for authorised hardware-locked download after pooling and recovery of source materials between 2010 to 2014.

Those involved will be `chuffed' if anyone pays a few virtual coins for the source recordings, via the site. There were a lot of mutilations and squelchy compressed pirated versions of the recorded music, which wandered after the year 2002 problems. The 1990s increase in ease of copying became a problem for many musicians, the facility to copy easily furthered by American conglomerates. Some of Peter's other intellectual became unlawfully exploited in America. A few rich Socialists also maintained it should all be given away anyway, for "the poor" again.

Trapani funded its initial development with a very limited budget, whilst working in other fields, moving on from much earlier 1986 and '87 rock n' roll `cover slots'. Peter performed his songs live, solo and with co-musicians, albeit that some skills were hampered a `tad' after a year 2002 torture for declining some more criminal offers after approach from more `charity people'.

The recordings of this period (from late 1989 onwards), often made to a `shoe-string budgets', initially with a microphone attached to a broom-stick handle, involve performances of some songs by Pete, which he wrote and performed across many gigs, clocking up several hundred performances between 1985 and 2004, spanning both earlier commercial and charity and later original composition material-promoting events. This was mostly interrupted for ten years approximately, by a smaller set of criminal cult tv enthusiasts linked to fraudulent counterfeit audio drama products, a Jewish looking man who turned up on a patio smoking herbal mixtures, and much more, including attempts to place and find vices in Peter by, on one occasion, charity drug dealers.

None of Peter's recordings of his own material, was in any form, legally issued as a whole at least. Each time attempt was made to launch something as a recording, someone attempted to intervene, in the lead up to some received threats in 2002. Physical attack, aimed at putting Peter off performing in general, was made, enough to impact with additional chemical alteration, on Peter's level of confidence for a time. The music and more was `shelved' but never junked or `closed'. R'Screech recordings were in several cases, issued by common criminals, sometimes sold on to tax-dodging salesmen and wanabee music promoters running dodgy digital duplication schemes on `home burned' CDR. In some cases, a Jewish ***looking*** man who finally admitted to it in 2002, began sending material after `acquiring it'(quote) to other companies on Peter's behalf, and without any right to do so, in the form of illegal and sometimes mutilated copies. This included mixes sometimes never intended for distribution at all, and some illegal dubs by student musicians.

Peter sometimes performed these songs with other co-musicians in agreement with him over the realisation of Peter's own music scores and melodies and lyrics (available for a few pence on line via `Apetunes').

The songs were put together whilst Peter and others were working at other things and gigging (stalled). It was originally planned for some of those musicians to be part of the post 2003 project, though some opted out for a range of life reasons. Peter wrote both lyrics and music, and began with melodies - scores.

Information about illegal format or any other standalone digital file format containing compressed versions of these specific recordings or unlawful mixes of these specific realised music scores, is welcome on-going. This includes any CDR discs containing same, from the batch of discs offered by a year 2000 retail trader (carrying a photograph on the cover which included a `fish').

When the recording projects were initially set-up, it was actually aimed at vinyl anyway, during a time of live slots, 1989 onwards. It was just some musicians planning to make a few records with some tunes and lyrics some people sang back, and to see how it went. The only planned 1997 release of material digitally, needed to be `pulled' after some presumptuous go-ahead by a third party in trying to sell mixes not approved and mixes of a separate woman performer, put onto CDR disc by a self-claimed "publicist", which then led to further confusion between a falsetto-style male voice Ronniescreech' recording, and more damage.

An additional unauthorised mix was supplied to a radio industry employee by an interfering self-claimed "publicist", who would sometimes send other recordings belonging to Pete, without his consent, to at least one other company with American trade distribution links, confirmation of same being received in 2002.

Peter never hired or called upon the services, of a "publicist" for his music, in any recorded form. In each case, the motive for the self-appointed "publicist"s was likely an attempt to draw attention to the culprit's own trading schemes. These people were normally bent salesmen, often with a slight or more gay interest, and sometimes approached musicians to help justify applications for various business loans.

`Demos' (short for multiple copies of a demonstration) of Peter's music (scores or any form of recording of them) were not permitted by him, to be submitted to third party record companies, standalone, or as a means of attracting interest. It was considered too risky and there was already confusion between the live act and another which emerged afterwards. Peter's way of communicating a song through `demonstration' was to sing the melody (the vocal tending for the most part, to be the main melody) whilst strumming away on the guitar, after it had been recorded privately and sealed in specific ways, or captured in a permitted recording of a live event. This was how the earliest gigs were obtained. Only a basket salesman and a Jewish looking man from the South West of the UK island, intervened with that, and encouraged others to.

Additional unlawful exploitation followed, as recent as 2014, when more American trades were found to be using Peter's data in connection with some as yet not approved for release video recording projects, to promote whole ranges of video-audio material in the States. These even extended to some assistance provided through a British "agent", to a self-claimed applicant to an American film school, where even the publicaly funded British NHS, police force and ambulance service, read to have been exploited unlawfully also, by Americans and a self-claimed wanabee visitor to America with access to some of Peter's person data (an obvious risk, but one which local Government authority seemed to not recognise any more than the use of Peter's person data in the early 1990s shortly prior to the periodic arrival of foreign underwear, after a corpse of a drug user cropped up at a holiday camp and stalled more music and the rest).

End of document.