a case against working for the king
“It is no secret that Ms. Monk rarely does commissions. It seems the current count of commissions she has accepted over her entire career rests around four or five. She explained the reason is because the artist is then working on someone else’s deadline. Not to mention she does not believe in “made to order art.” Benn clarified that Ms. Monk does not even work on her own deadlines, but the project’s deadline. Meaning that she spends the time getting to know the project so that it takes on a life of its own within the creative process, and after working diligently on the project, it reveals to her what it will be ultimately.”
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=de6d059a-d0e6-4c1b-8d4d-472e1f922b7e)
Bookmarks for December 27th through December 31st [del.icio.us]
![Bookmarks for December 27th through December 31st [del.icio.us]](http://www.paulbailey.us/wp-content/uploads/2010/01/mg65Z1-150x150.jpg)
Bookmarks from December 27th through December 31st:[del.icio.us]
- Doctorow, How to Destroy the Book | Electronic Frontier Foundation -
“When I buy an audiobook on CD, it’s mine. The license agreement, such as it is, is “don’t violate copyright law,” and I can rip that CD to mp3, I can load it to my iPod or any number of devises—it’s mine; I can give it away, I can sell it; it’s mine. But when you buy an audiobook through Audible, which now controls 90 per cent of the [downloadable] audiobook market, you get a license agreement, not a property interest. The things that you can do with it are limited by DRM; the players you can play it on are limited by the license agreements with Audible. Audible doesn’t do this because the publishers ask them to. Audible and iTunes, because Audible is the sole supplier to iTunes, do this because it’s in their own interest….”
- how to make a living playing music | Ol’ Danny Barnes -
“i hear so much complaining about this subject, i just wanted to lay my practical experience on you. free. first, three pre-conditions: 1. if you are a very materialistic person, skip this article, i don’t think you are going to like what it says. 2. if you don’t have the music where you want it art-wise, you might want to go work on that, this article isn’t going to help you much either. you will be better off by practicing and studying and working on your music instead. you will need to get the art pretty close to where you want it, before you should worry about making much of a living out of it. 3. determine if you are actually called to be a musician. if you aren’t called, all the gyrations in the world, won’t make it work. if you are called, no matter what you do, it’s going to work. this determination will solve most of the problems you are going to encounter. “
- Mixed Meters: Could Terry Riley’s In C Be Accepted As Classical Music -
“I fantasize that someday In C will be programmed on regular orchestra concerts. Yes, getting this piece into the standard repertory is a long ways off. If it happened, In C would change from a “minimalist classic” into an actual piece of classical music. That would provide strong evidence that classical music has some life left in it.” A chamber orchestra would be just the right size. Before the intermission the program could be, maybe, a Rossini overture and a Mozart concerto. And the second half would be a 35-minute performance of In C employing all the performers from the first half. Great concert! Of course, during In C the conductor should sit in the ensemble and play an instrument, provided he or she is capable. Otherwise tell the conductor to sit in the audience.
- Militant Locationist Rant « 90042 -
“Recently in our humble corner of Los Angeles, a brewery opened. Which is great news to anyone, (especially myself) who enjoys what Benjamin Franklin said was, “proof that God loves us.” Microbrewing is something I have supported for a long, long, and expensive time. Having a new microbrewery nearby is a wonderful thing. The only problem is the name. And what is in a name? To quote Shakespeare, “A rose by any other name would smell as sweet.” Maybe so, but out of the millions of names to engrave on your mast, the brewers of this new brewery have chosen to name their venture after a location here in Northeast Los Angeles. It’s good to represent, right? The name of this new establishment is Eagle Rock Brewery. Great, Eagle Rock is a fine place; home to many of my favorite festivals, restaurants, stores, and newspapers. The only problem is the brewery is not located in Eagle Rock 90041, but in Glassell Park 90065.”
- Lefsetz Letter » Blog Archive » Gleevec -
“I’m still reading the responses to my “Leukemia” missive. I appreciate the good will. But I’m reading slowly not only because the missives are all personal, directed specifically to me, but because I’m learning so much. I heard from Steven Page, formerly of the Barenaked Ladies. Did I know that Kevin Hearn from BNL had leukemia? Steven copied him on the e-mail. Turns out Kevin had CML too. Before Gleevec. He had a bone marrow transplant, and it worked.But it’s not. [snip] Because some guy who wasn’t in it for the money, who was willing to sacrifice everything for his passion, put together the pieces to come up with a breakthrough drug that allows me to live.”
- UbuWeb Sound – Marshall McLuhan -
“Marshall McLuhan appeared on the Dick Cavett Show in December of 1970 along with Truman Capote and Chicago Bears running back, Gayle Sayers. Both Capote and Sayers participated in the discussion with McLuhan. This recording was made on reel-to-reel audio tape in 1970 and directly transferred to computer in 2005. Unfortunately, the exact date of the show was not noted, except that the show did take place before Christmas. All commercials and breaks were removed from McLuhan’s appearance.”
- The annotated world « BuzzMachine -
“Tweet: A view of our annotated world: Hyperlocal is what’s around me and how I search that There are eight million stories in the naked city and soon every one of them will be available on your phone through visual, aural, and geographic search and augmented reality in our newly annotated world. Every address, every building, every business has a story to tell. Visualize your world that way: Look at a restaurant and think about all the data that already swirls around it — its menu, its reviews and ratings and tags (descriptive words), its recipes, its ingredients, its suppliers (and how far away they are, if you care about that sort of thing), its reservation openings, who has been there (according to social applications), who do we know who has been there, its health-department reports, its credit-card data (in aggregate, of course), pictures of its interior, pictures of its food, its wine list, the history of the location, its decibel rating, its news… “
Bookmarks for October 24th through October 31st [del.icio.us]
![Bookmarks for October 24th through October 31st [del.icio.us]](http://www.paulbailey.us/wp-content/uploads/2009/11/writing-on-walls1-150x150.jpg)
Bookmarks from October 24th through October 31st:[del.icio.us]
- Brow Beat : The DORF Matrix: Towards a Theory of NPR’s Taste in Black Music -
“In the weeks since the publication of the All Songs Considered list, I have been puzzling over NPR’s musical coverage—in particular, its approach to black music. I wondered: Could NPR’s musical taste be as lily-white as the “The Best Music of 2009 (So Far)” list? After scouring NPR’s Web site and studying its broadcasts—All Things Considered profiles, Fresh Air interviews, even the music interludes played between segments on NPR’s marquee programs—I can report that the answer is no. It’s not that NPR doesn’t like black music. It merely maintains a strict preference for black music that few actual living African-Americans listen to.”
- why i’m not afraid to take your money« by amanda fucking palmer -
“I know this for myself – it’s something you’ve done since you were six years old, and there’s a sense that if you stop giving 100% you are doomed to failure, and that is unacceptable. No wonder so many players hate their sport – the surprise is that so few admit it.” And despite all the kudos, money and silverware, there’s a reason it’s the top players who suffer most – because they’re the ones playing the most tennis, as they don’t get knocked out in the first or second round. So they have the least free time, the most mental stress and suffer the most physically. Agassi’s avowed hatred for his sport is far from exclusive to tennis. British cyclists Chris Boardman, the former Olympic pursuit champion, and Tour de France star David Millar have both admitted to not really liking cycling. “In Boardman’s case,” says William Fotheringham, the Guardian’s cycling correspondent, “he liked the winning not the cycling itself, and he drove himself to win.”
- Why did Andre Agassi hate tennis? | Sport | The Guardian -
“I know this for myself – it’s something you’ve done since you were six years old, and there’s a sense that if you stop giving 100% you are doomed to failure, and that is unacceptable. No wonder so many players hate their sport – the surprise is that so few admit it.” And despite all the kudos, money and silverware, there’s a reason it’s the top players who suffer most – because they’re the ones playing the most tennis, as they don’t get knocked out in the first or second round. So they have the least free time, the most mental stress and suffer the most physically. Agassi’s avowed hatred for his sport is far from exclusive to tennis. British cyclists Chris Boardman, the former Olympic pursuit champion, and Tour de France star David Millar have both admitted to not really liking cycling. “In Boardman’s case,” says William Fotheringham, the Guardian’s cycling correspondent, “he liked the winning not the cycling itself, and he drove himself to win.”
- don’t care about old composers-rogerbourland.com -
“I asked Aaron Copland what he was composing in fall 1976: “Nothing, and I am not accepting commissions; if people want to play my music, there’s plenty of it available in my catalog.” Today I went through an old journal, listing old UCLA Music faculty and their appointments and salaries. I looked at all the composers and saw their careers over a span of decades. I sighed and thought about how none of their music is heard these days. And I’m sure that this is true for every music school in America.”
- Brand (Dis)Loyalty « The Quick and the Ed -
“A couple of days ago a message popped up on my Tivo informing me of a new service, “Blockbuster on Demand.” Ah, Blockbuster. That takes me back, to that period of about four years when all of the mom and pop video rental stores had been driven out of business but Netflix hadn’t yet arrived, so the only way to rent a movie was to drive to the nearest Blockbuster, spend ten minutes trying to find a place to park, discover that your first eight choices were unavailable, wait in line for fifteen minutes, and be informed by a surly, inattentive clerk that you owed the Blockbuster corporation 27 dollars in late fees and other assorted charges. snip This is what happens when organizations use their monopoly status to mistreat customers. Sooner or later the world changes, your monopoly is gone, and you pay the price… If there’s one thing that’s pretty certain, it’s that people will have more education choices in the future than they’ve had in the pas
- Music review: ‘Einstein’ at the beach | Culture Monster | Los Angeles Times -
So “Baby Einstein” won’t make your kids smarter after all. Last week, the Walt Disney Co. confessed that plopping kids in front of its video does not count as instant education and offered to refund gullible parents their money. But the few enlightened parents who tried “Einstein on the Beach” instead may have a wiser tale to tell. Saturday night, Jacaranda, the West Side’s new music series, concluded its first concert of the season at First Presbyterian Church of Santa Monica with excerpts from Philip Glass’ groundbreaking opera he conceived with director Robert Wilson in 1976. Glass offers the option of replacing the women’s voices at the end with a children’s chorus and that is what Jacaranda did. Asking youngsters to show up late at night to sing the last eight minutes of a five-hour avant-garde work is, obviously, unreasonable. Then again, little about putting on “Einstein on the Beach” has ever been practical…”
