Send Me Your Money, Chris Burden (1979)
Send Me Your Money, Chris Burden (1979)
The artist asks the listeners to imagine sending him money. Broadcast on KPFK, Close Radio, (recorded live) March 21, 1979, 55 min. 45 sec.
The Fulcrum; Elliot Cole and Brad Balliett (2011)
The Fulcrum, Elliot Cole and Brad Balliett (2011)
download mp3
Lyrics:Elliot Cole
Music: Brad Balliett and Elliot Cole
from the album The Oracle Hysterical 2011
via the Elliot Cole Website
The religious imagination – with its long memory, appetite for layering metaphors on metaphors, and genial ‘suspension of disbelief’ – often strikes me as more dazzling and profligate than the secular, ‘artistic’ imagination. Whereas the market-pressed artist today chases difference, the religious imagination pursues resonance, drawing on deep cultural memories and freely (re)mixing words, images, symbols and references to that end. This EP – my first experiment writing rhymes and rapping them – was a project of this kind of imagination. As I wrote this ‘history of the world (to c.2000BCE)’ I worked hard to layer each image on a resonant one from a distant source: the Biblical Wheels of Gagallin are imagined as the spinning circles that draw sine waves, sine waves as the regular crest-and-trough of farmland and irrigation channel, irrigation channels as formants in a tone. The result: my own personal mythic syncretism of folk cosmogonies, Lucretian materialism, fake Deleuze, Mesopotamian history, acoustics and, well, a hundred other things.
Paul Bailey: Retrace Our Steps (2004)
Paul Bailey: Retrace Our Steps (2004)
“Retrace Our Steps is a secular oratorio in 4 acts (2004) based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. the work explores the relationships between idealism, alienation, and consumerism.”
act 4
Retrace Our Steps, Graphic Libretto
curated by david toub
Landscaping for Privacy-Eve Beglarian (1995)
Landscaping for Privacy-Eve Beglarian (1995)
“was written in August-September 1995 for twisted tutu (Kathleen Supové, keyboards and Eve Beglarian, vocals) while we were in residence at the Bellagio Center in Italy under the auspices of the Rockefeller Foundation. The poem is by Linda Norton. The keyboard part was written to be played using the arpeggiator function of a synth keyboard, sort of like a new convertible with an automatic transmission. I tried to capture the fragile elation urban types feel at driving out of the city on a beautiful Saturday morning in spring.”
A recording of Landscaping for Privacy is on the CD Tell the Birds and also on the compilation CRI Emergency Music.
Landscaping for Privacy is May 30th in Eve’s ongoing project A Book of Days.
Libretto
The hedges along the parkway, the trees, the trees–
They sashay, they nearly genuflect, they breathe.
It’s good to breathe; it’s good to get away in summer,
It makes you feel clean. The city, the squalor, the mess,
That’s what’s killing us. Did I tell you about the rat
I saw in the subway last night? It had a swollen belly
And no fear, it went right for a transvestite in heels!
Enough; I know; not here, not now; I should relax,
Shut up, let go. Oh, yes, Long Island’s very fresh and nice;
Do they have rats out here, or just field mice? And I forget,
What do people do with themselves in the suburbs?
The streets are empty, the lawns unused. If I lived here,
I’d spread out, I’d hang a hammock, I’d keep sheep,
I’d dig a well. I’d build hummocks to my own
Specs, I’d be positively pastoral.But you’re right, of course. Of course, you’re right.
I couldn’t keep sheep, there’s probably an ordinance,
They’d shoot me for ruining property values.
But what’s property, anyway? Years ago
I read about a pillar of roses in an English garden
And so I own it, I have the deed by heart.
Speaking of which, pull over, look,
Here’s a surprise for you. Check out my bicep.
Do you like my new tattoo?What do you mean, “What is it, did it hurt?”
It’s a miniature gazebo! Of course it hurt!
Note the incredible detail, the wicked craftsmanship.
See–it’s a garden pagoda for me and you,
With ivy, and grass, and a snake in the grass.
Hey, what are you doing? Oh yes, that’s good,
Yes, kiss it and make it better. Because
It did hurt a bit. In fact, it hurt like hell
(Remember that night when you touched me
And I yelled?)OK, let’s drive, let’s tour the hydrangeas
And the lawns. What could be more suggestive
Than a grassy mattress? Maybe that TV glowing
In a darkened den, shades nearly drawn.
Slow down, slow down–that’s strange: a sick room,
A suburban tomb, on a day like this,
With the clouds all starched and bustling
In a Disney sky. Look, they have a gazebo, too,
Jam-packed with rusted rakes and trash.If I had their lawn I’d soak it and sun bathe on it,
I’d sleep out under the stars, I’d walk to the mall
And strap a sack of fertilizer to my back and hike
All the way home. We’ve lived in the city far too long,
Yes, that’s what’s killing us. That, and this monument
To love we lug, this brick inscribed FOREVER.
Let’s let it sink. Let’s kiss. Give me the wheel,
I’ll drive so you can look at clouds.“All clouds are clocks,” bulldozing time.
Do you remember who said that?
A pauper? A philosopher?
Well, he was right,
Those pretty clouds are bullies–Bouffant armada,
Fluffy but cruel,
Ushering last days for many.
–Linda Norton
Frederic Rzewski: Coming Together (1970)
Frederic Rzewski: Coming Together (1970)
performed by Group 180 (Hungary)
“The design of “Coming Together” is simple, even minimal: Steve ben Israel reads and rereads one of Sam Melville’s letters from Attica over a jazzy, repetitious vamp. Yet the result is political art as expressive and accessible as Guernica. In ben Israel’s interpretation, Melville’s prison years have made him both visionary and mad, and the torment of his incarceration is rendered more vivid by the nagging intensity of the music. The other side features a less inspiring political piece and a percussion composition, each likable but not compelling, but that’s a cavil. “Coming Together” is amazing. A-”
curated via Paul Bailey (via ubuweb)
Steve Moshier: Shadow Boy (1981)
Steve Moshier: Shadow Boy (1981)
“the cartesian reunion memorial orchestra (crmo) was formed in 1979 by 8 composer/performers to spread joy and happiness to the musical world. the ensemble, the major autonomous collective in los angeles, performed over 100 concerts from 1979-1992 throughout so. cal. collaborating with major dance companies, theatre groups and performance artists. this historic compilation of studio recordings captures the power and essence of the seminal ensemble and the energy that was in LA in the 80′s”
Steve Layton: “Charlotte, Too Soon” (2006)
(Music source: samples from old answering machine tape treated and arranged in ACID) — Voices of relatives and friends of cellist / performance artist Charlotte Moorman (1933-1991), from one of her old answering machine tapes (mid-late 1970s?). All other sounds as well are derived from noises on the same tape.” via niwo.com
Scoma: Voice III night (2009)
“The audio piece centers on the thought of the integration of human voice in sonic context. Right now a series called „voices“ is work in progress, reflecting the ways of interaction between music/sonic textures and derivates of the human voice.”
Adam Kondor: I’m Angry and You’d Be Too
Henali: To Live (with Maria Navrotskaya)
To Live (with Maria Navrotskaya) by heinali
Henali: To Live (with Maria Navrotskaya)
Notes from soundcloud.com
