These are my links for June 21st through July 24th: TALK- Kenneth Goldsmith – Tank Magazine- “NR: Who contributes to Ubu, and how is it curated?KG: Ubu doesn’t generate any of its own content. Instead, films and sounds are taken from very exclusive file-sharing groups and released to the public. The decision as to what [...]
These are my links for May 23rd through May 29th: Last Night: Top 10 Quotes from KCRW’s Global Street Food Panel – “Some [trucks] are good, some are dreadful. I don’t think it’s accidental that most of the time when they have those competitions, the traditional loncheras win. Lux loncheras are catering to people who [...]
the mixing process has been keeping me busy every day of this summer and the main goal this time is to learn a higher level of mixing skills. for my first two albums my skills limited to mainly recreating a live performance, but this time i’m ‘the studio’ to create a unique sense of space and sound for each piece. the big change for me occurred this spring when i became more interested in photography and finally realized that photo editing programs like photoshop and aperture were just sophisticated equivalents and extensions of the traditional darkroom in which creation of a photograph didn’t end when the shutter clicked.
with that in mind i have been learning new techniques that are far beyond the limited mixing strategies i have used in the past (using mainly volume and reverb automation), and with the help of a few pros looking over my shoulder i’m learning to embrace the mixing process as an extension of each composition. please don’t think i’m attempting to create a george martin/phil spector/brian wilson production and the best way to describe my approach is that i’m using audio software (protools) as my darkroom to create a collection of music that is not a simulation of a live performance but really a ‘heightened reality’.
in the big picture i know this isn’t a new or earth shattering accomplishment (many rock bands have been doing this for years), but because all this music was created (composed, rehearsed, performed, recorded, and mixed) outside the usual channels of art-music presentation and the fact that i didn’t have to ask for ‘permission’ (through grants, commissions, and fundraising) shows that there are other ways to make art music outside the current long-running tradition of patronage and ‘working for the king’ the main example of why i’m calling the album ‘alt-classical’
over the last few weeks it’s been interesting getting into photography as a hobby/creative outlet b/c i have discovered a new way of scratching my urge to make things (and even perform). part of the the major changes i have been going are trying to find a balance between my different personas (creative/teaching/personal) and it looks like photography is going to be just what i need.
i think it’s interesting that for quite a long time i have been an active photography enthusiast, always taking my camera with me to document and capture life as it rumbles along, but what has got me interested now how you can you photographic technique (perspective, color and light) to capture (i.e compose) a shot. calling it a composition (in the musical sense) is really a misnomer, b/c it’s really much more like counterpoint in music except you are using a camera as digital tool to adjust the light, shadow, and color to create the heightened reality through the illusion of balance.
i guess at this point of my life a little balance could go a long way
Bookmarks from July 16th through July 19th:[del.icio.us]
- WNYC – New Sounds: Minimalist Music Theatre (July 2009) -”Minimalist Music Theatre Hear some music theatre pieces on this New Sounds show. Listen to Philip Glass‘s recent release “Waiting for the Barbarians,” adapted from the novel by the South African writer and Nobel Prize Winner John Coetzee. Also, there’s music by Paul Bailey – his post-minimalist music theatre piece “Retrace our Steps.” He describes it as a four act vocal/instrumental spectacle based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. The “alt-classical garage band” Paul Bailey Ensemble performs the work”
- Big Brother Is Listening – The Classical Beat (Anne Midgette) – washingtonpost.com - -Anne Midgette neatly sums up musoc.org “But statements like “Art Music is in many ways objectively superior to Pop ‘Music’” (note the quotes) make me grit my teeth and want to play Talking Heads albums really, really loudly. And this, from the FAQ, is just stupid: “The ‘music’ is melodically, harmonically, rhythmically, structurally, texturally, dynamically, thematically and conceptually barren compared to Art Music; it’s also spiritually and politically shabby by comparison. It’s short, trite and highly repetitive.” One is tempted to order a copy of Miles Davis’s “Kind of Blue” for the site’s editors, just for starters, but one wouldn’t know where to send it. Indeed, there’s something vaguely creepy about musoc’s deliberate anonymity, which is evidently part of its philosophy, though there are limits to how much an audience will care about what a website says if one doesn’t know who’s writing it.”
- Celebrating Cronkite while ignoring what he did – Glenn Greenwald – Salon.com – In the hours and hours of preening, ponderous, self-serving media tributes to Walter Cronkite, here is a clip you won’t see, in which Cronkite — when asked what is his biggest regret — says (h/t sysprog): What do I regret? Well, I regret that in our attempt to establish some standards, we didn’t make them stick. We couldn’t find a way to pass them on to another generation. It’s impossible even to imagine the likes of Brian Williams, Tom Brokaw and friends interrupting their pompously baritone, melodramatic, self-glorifying exploitation of Cronkite’s death to spend a second pondering what he meant by that.
- Philip Glass to perform film, opera works at Hollywood Bowl – Los Angeles Times – With “Koyaanisqatsi” — the name means “life out of balance” in Hopi — Glass had more than two years to work on the score. “There was no one waiting for the film — there was no distributor! So we were left alone to make a film — which I realized later was a great luxury.” Today Glass is struck by how pertinent the film seems, at a time when its notions of the world’s interconnectedness and the runaway power of technology have gone mainstream. But the film’s identity has changed since its premiere in 1982.”When we first showed it,” he says, “people thought it was a head trip. People seriously thought you had to get high before you watched it. It wasn’t too long, only four or five years, for people to realize there was actually a movie.”
- Guest Blog: The Actors Diet: How I’m Recovering – Carrots ‘N’ Cake -Guest Blog: The Actors Diet: How I’m Recovering “…I’ve been struggling with binge eating and anorexia for a while; if you read my bio on our blog page you’ll see a little more about my history with food. I know a lot of women look up to actresses, and there are plenty of them who are in great shape, healthfully (my co-blogger Christy being one of them). As somebody who has been celebrated for her figure (in my feature film debut I played a ballet dancer AND got naked), I am proof that sometimes it is a false ideal, even when you have all the resources available to you, like a personal trainer, meal deliveries, a shrink, hypnosis coach, a best friend who’s a nutritionist…I felt like I had legitimate reasons to obsess about my weight – after all, my career depended on it.”
- Intolerable Beauty: Chris Jordan Photographs American Mass Consumption – Photographer Chris Jordan describes the photos in his series “Intolerable Beauty: Portraits of American Mass Consumption” as his “first foray into being an engaged artist.”
- US State Department employees ask Hillary clinton for Firefox – Video – “Have you been trying to get your corporate IT staff to let you use Firefox or another web browser instead of Internet Explorer? Then you apparently know how a fair number of folks at the US State Deparment feel. At a recent town hall meeting with staff, US Secretary of State Hillary Clinton received a question from one government employee who wanted to know if they could “please” use Firefox instead of Internet Explorer. You can see the Q&A by skipping to the 26:32 point in the video above. ” [del.icio.us]
- Los Angeles News – Russian or Armenian Mob Used “Model Employee” Con at PCH Arco --
An organized-crime ring that police believe is Russian or Armenian targeted a high-volume Redondo Beach Arco gas station, assigned a low-level soldier to infiltrate it and waited eight months while he worked himself into a position where he could implant a tiny, high-tech “skimmer” to steal customers’ credit-card information.
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Bookmarks from July 1st through July 3rd:[del.icio.us]
- Jazz: The Music of Unemployment: Twitter killed the video star – christopher weingarten makes the point that crowd sourcing killed great music. because there is lots of “who” you should listen to, but not much “why” (via andrew durkin)
- AwkwardFamilyPhotos.com -a good cure for the summertime blahs
- Los Angeles Eat+Drink – Snook Attack: La Chente – johnathan gold again tempts me with his food porn. “Have you ever encountered pescado Zarandeado? Because it is as intimidating as an entrée can get, a vast, smoking creature split open at the backbone and flopped open into a sort of skeleton-punctuated mirror image of itself, wisps of steam rising around the onions and lemon slices with which it is strewn, served on the kind of plastic tray you may remember from your high school cafeteria, which is probably the only vessel broad enough to handle the fish. As served at Mariscos La Chente, a Westside restaurant specializing in the seafood dishes of Sinaloa and Nayarit, it is so menacing that you scarcely know whether to eat it or beat it to death with a stick.”
- Industrial Jazz Group – ReverbNation -now that i’m on break i’m looking forward to listening to the IJG’s latest album LEEF. “Frustrated by the limitations of “Jazz, the Institution,” but equally resistant to the confines of modern pop, the Industrial Jazz Group has slowly pioneered a middle way. Its music is an idiosyncratic blend of rock, bebop, cartoon soundtracks, blues, funk, Balkan music, doo wop, and, well, a lot of other stuff. (In the end, it’s neither “industrial” nor “jazz,” so don’t let the name fool you.)”