Bookmarks from January 5th through January 11th:[del.icio.us]
- Till we meet again, in some screening room in the dark. (15) – By Roger Ebert Slate Magazine -
“To be fair, James Cameron undoubtedly knows this about genetics. We already know how the female Na’vi evolved breasts. They evolved them on Cameron’s drawing board, because you can’t have a love affair between two Na’vi who are both breastless and therefore apparently male. The bloggers from the tinfoil-hat brigade would really go bonkers then. Roger”
- L.A. charter schools flex their educational muscles – latimes.com -
“Bauer, the Granada Hills principal who wanted the district “leveled,” said he actually sees that happening — but from inside, and by the district’s own choice. “I think the current centralized L.A. Unified structure is being leveled by the superintendent and board,” he said. “I think the climate has changed a lot,” said Jennifer Epps, principal of , a high-performing elementary school in Historic South-Central. “I think that just overall, they’ve been realizing that what they’re doing isn’t necessarily right for every school . . . and they’re saying, ‘We don’t have the resources to change these schools fast enough. . . . We need other solutions.’ “
- Quotes on music -
“To those composers who use MIDI and drum machines: Keep using them! Realizing your scores via MIDI is not inherently better or worse than hearing them in your head. If you haven’t already, you will eventually figure out how to make your MIDI devices do things no one ever thought they would do! And then you might learn how to hear those kinds of things in your head, something that [the conductor] Dennis Russell Davies will never be able to do.” — Corey Dargel
- The Founders Of Computer / Electronic Music | soundseller BLOG -
“Six world-renowned pioneers of computer and electronic music gather at Tulane University to discuss the future of the form – both as they saw it in 1967 and as they see it today…”
- Dave Winer: “I’m a mystic about What It All Means.” -
“…Dave Winer’s writings make you “think.” What does this really mean? The best response comes from Winer himself in a remarkable note about Julia Child, whom he views as a “natural-born blogger,” even though she wrote before the blogging era: [snip]. A blogger is someone who takes matters into his or her own hands. Someone who sees a problem that no one is trying to solve, one that desperately needs solving, that begs to be solved, and because the tools are so inexpensive that they no longer present a barrier, they are available to the heroic individual. As far as I can tell, Julia Child was just such a person. Blogging software didn’t exist when she was pioneering, but it seems that if it did she would have used it.” In the same piece, he also mentions that “The story of the nobility of blogging largely remains, imho, untold,”
- Hello… I Must Be Going-allaboutjazz.com -
“You are all the victims of Big Lies, conceived by Big Liars and spread by small-time hustlers, self-seeking weasels, Kulchur pimps and self-loathing whores – with a little too much help from some truly dedicated and optimistic individuals who are simply unable to see the forest for the trees. Combine this with those most willing victims – the musicians, who insist upon remaining slaves, shackled by their comfortable ignorance, short-sightedness and willingness to plant their silent lips upon the glutes of anybody who can offer them the luxury of allowing them to work for chump change – and you have got the ideal formula for destruction.”
- 20 years goes by so quickly – NetNewMusic -
“As in Dan Stearns recent Trolley video, this video is music from twenty years ago from a group I was in called the Glue Factory Orchestra in one of our first, if not our first show. The auspicious title of “no name” goes with this tune. As you can tell, the video and audio aren’t the best, but the club Beneath Broadway was a great place to play and to see music and theatre and this reminds me of those days. GFO was: Tony Atherton (alto sax), Diane Barkauskas (keyboard, accordion), Dave Black (amplified string bass), Joe Bouchard (Guitar), Jeff Fairbanks (drums, marimba), Martin Tardif (electric bass), and Jerry Wheeler (trombone). Tune by Jeff Fairbanks”
Bookmarks from November 2nd through November 6th:[del.icio.us]
- Lefsetz Letter » Blog Archive » Streaming -
“Ownership is for pussies. Oh, don’t e-mail, you same people who said we should save the album. Notice what a few years do? Radiohead says no more albums, Rush the same thing. So, when your favorite acts give up on the long form format, don’t you too? I know you do. Because you’ve stopped sending me hate mail in quantity. If I write the album is history, I now only get a couple of e-mails complaining. Whereas I used to get hundreds! How many years until when I say streaming is the answer that I get the same miniscule response? How long until you nod your head and say I’m right? The major labels are confused. They were for streaming a decade ago, then they were for ownership, and now they’re afraid somebody’s gonna come up with a streaming solution and become the new MTV and have all the power. But maybe not all the profits, the majors are investors in Spotify.”
- Your Carnitas Wonderland – Los Angeles Area Digest – CHOW
“Metro Balderas is a family operation with four locations in Los Angeles, each run by a different member of the family. exilekiss visited the Highland Park branch, run by Jasmine Guzman. Every Saturday and Sunday, Metro Balderas offers eight types of pork carnitas in the Distrito Federal style for a barrage of carnitas taco glory.”
- WitnessLA.com » Blog Archive » ON BEING BLUE: A Cop Talks About Cops – Part II -
2008 Witness LA interview with the new LAPD chief of police, Charlie Beck
- Benjamin Smith: Improvisations -
“Benjamin Smith is an improvisor currently living in West Orange, New Jersey. Smith ventures far beyond the standard idea of jazz improvisation, into a sound world equally influenced by modern classical. All of the pieces are free improvisations invented at the time of recording, and feature Smith alone at a Yamaha P-70 digital keyboard. He say…”
- Kalvos and Damian Show #557 with The Brick Elephant Festival of Firsts – ImprovFriday -
“David “Damian or is it Kalvos” Gunn traveled to Valley Falls, New York, to join M J Leach at the Brick Elephant for the “Festival of Firsts”. MJ co-hosted the K&D show for the four-hour concert that included music by Karl Korte, Dan Evans Farkas, Nicholas Chase, Alfred Brown, Al Margolis, Doug Van Nort, Petr Machadjik, Kjell Perder, Conrad Kehn, and Richard Lainhart — as well as David and MJ’s music. The show is up on the K&D site in four parts. http://kalvos.org/shows-2009.html There was a lot of interesting partial and full improv on the concert — full program is at ReSoundings.Net. “
- Newspaper first to go live with public Google Wave | Media Owners | Revolution -
“Following the hype around the launch of Google Wave, German newspaper Welt Kompakt has become one of the first to launch a public Wave, helping readers interact with the title”
- The Complete Guide to Google Wave: How to Use Google Wave -
The Complete Guide to Google Wave is a comprehensive user manual by Gina Trapani with Adam Pash. Google Wave is a new web-based collaboration tool that’s notoriously difficult to understand. This guide will help. Here you’ll learn how to use Google Wave to get things done with your group. Because Wave is such a new product that’s evolving quickly, this guidebook is a work in progress that will update in concert with Wave as it grows and changes. Read more about The Complete Guide to Google Wave.
Bookmarks from August 17th through August 22nd :[del.icio.us]
- On Becoming Less Dumb About Wordpress (Subhead: H-E-L-P.) – ihnatko’s posterous – Andy Ihnatko blogs about some of the limitations on running a wordpress blog: “Not really. There are thousands of free, professional themes for Wordpress that’ll take you 75% of the way, but that’s a bit like a ship that will take you 75% of the way to the Sun. You’re still about 25,000,000 miles short so pack a lunch and wear comfortable shoes”
- Networked Music Review — Join the Chiptune Marching Band [Berlin] -”Chiptune Marching Band (CMB) is a participatory DIY workshop/performance. CMB is a public workshop and actual public performance where participants make a sensor driven sound instruments, self-powered by a kinetic power source, and perform with their instrument with the band. With instruments at the ready, the group heads outside, bringing an event to the streets as the Chiptune Marching Band! The course invites any members of the general public, offering them the opportunity to explore localized resource communities, sound making circuitry, and collective sound performance through their realization.”
- Create Digital Music » Alternative Music Distribution: Moldover’s CD Case as Circuit Board Noisemaker – “Moldover is the latest artist to experiment with ways of re-imagining the musical object. Already a fan of custom sonic circuitry, he made his CD into a circuit board. Some of it is just aesthetic, like the printed lettering. But there is also integrated noise-making circuitry for a very simple optical Theremin (well, at least, a light sensor-driven oscillator), plus a headphone jack. There’s actually quite a lot of function you can get out of that when plugging into a computer ” http://moldover.com/quicklinks/buy.html
- Jazz: The Music of Unemployment: Watts Ensemble – “What follows is an email interview with Brian Watson, founder of / composer for the Watts Ensemble. Never heard of them? How’s this? (The tune is called “Funny Cigarettes.”) Based in LA, and supposedly created on a dare, Watts is an impossible, outlandish creature after my own heart, a kindred spirit if ever I met one. The group recently released their first album, Two Suites for Crime & Time. N.B.: I recommend reading the Chris Ziegler interview over at L.A. Record before reading this one.”
- Critic’s Notebook – Nightly Guests Give an Insight Into Their Quirks and Tics – NYTimes.com -”I learned that the world is divided into the hoarders and the sharers, and into the perpetually slighted and the eternally grateful; that the diners who eat the least are the ones who pretend to eat the most; and that no manner of advance instruction can prevent guests from saying your real name and even referencing your last three reviews loudly, repeatedly and in direct earshot of the restaurant manager. There’s a reason most people don’t go into the spying business. They have no aptitude for it.”
- Pajamas Media » L.A. Police Chief Jumps Ship “So he has earned his admirers, but as anyone who has followed his career will tell you, William Bratton has no greater admirer than William Bratton himself. Which brings us to the curious timing of his departure, coming as it does only two years into his second five-year term as chief. When Bratton came to Los Angeles, a friend in the NYPD described him as the P.T. Barnum of law enforcement, a handle that seems just as apt today as it did then. Like Barnum, Bratton knows how to put on a show, and also like Barnum, he knows to leave the audience wanting more as he exits the stage.”
“Paul Bailey saw a lot of space between pop art and high art and decided to fill it, rather than just rant about it over fish tacos and soda—although he does a pretty good job at that, too. The jovial, articulate composer/trombonist/bandleader is just as likely to talk about Wes Anderson or Love & Rockets comics as elements of the baroque chamber music his nine-piece ensemble—two violins, cello, vibraphone, synthesizer, electric guitar, bass guitar, clarinet and trombone, augmented by vocalists as necessary—draws on. It’s classical instrumentation and architecture, but the amplified guitars are front and center, enough to scare off the furs-and-tiara set. And that’s fine for Bailey, who’s proud of a distinctly un-academic—though definitely not uninformed—take on classical composition, something between Weezer and Wagner. With many of his musicians coming from Cal State Fullerton, his ensemble is familiar with gigs at local art galleries, churches and other impromptu performance spaces; this month, however, Bailey will debut Retrace Our Steps , a work based on writings by Gertrude Stein, Guy Debord and Jenny Bitner that was commissioned by the Cerritos Center for the Performing Arts in what Bailey describes as a happy accident.
OC Weekly : So you left Kansas to become a professional musician in California, and you ended up . . . at Disney. How was that?
Paul Bailey: It’s Disney. Anything anyone else has said? It’s true. I was trained to be a musician, I practiced very hard, and I got there, and I basically had to make farting noises on my trombone and play show tunes. At Disney, you don’t have a choice. We played the same 12 songs for four years.
Is that what drove you to become a teacher?
Being a teacher is the only way I can be a composer and a musician and not have my soul taken out of me. Being paid to play trombone or being paid to write music, I have to worry about who’s going to pay me next. Now, in a sense, I have no filter. I can write whatever I want. It can be shitty, but at least it’s what I want.
So explain why you want to do what you do.
I’m 36. Are people my age supposed to listen to pop music their whole lives? The whole music industry is set up to please a 17-year-old kid. I don’t mind listening to that stuff, but am I supposed to live my life through the eyes of a 17-year-old?
But you told me earlier how much you like Weezer.
I love Weezer. They’re one of my favorite bands, but it would be false of me to write pop songs or rock songs. Is rock and pop music the only way you can express yourself in today’s culture? If I had drums, we’d be a rock band. Right now, it’s very deliberate—I’m not a rock band, although I use rock instruments
So is this something closer to an orchestra?
Fuck the orchestra. Let’s burn that puppy down and start over. The orchestra’s proper place is the museum. The idea you’re getting some cultural experience that’s going to make your life better and it’s going to expand your mind is total bullshit.
Then how do you reconcile the two forms?
There’s the technical aspect where I can say, academically, we’re not modernist music. We believe in stuff that has the same chords as Weezer, the Beatles or Radiohead. I’m choosing to deal with music I grew up with and that interests me. But I don’t want to make people go through all these things to decide whether they like it or not. In my latest work (Retrace Our Steps), there might be a message, but the actual music takes very little to understand. You don’t need to listen to Michael Nyman or Steve Reich or Phillip Glass to listen to my music—although it’s based on them. You don’t need to understand hundreds of years of music history in your mind to listen to stuff I write.”