Norman O. Mustill made “Critic” on paper, in 1971. He didn’t put much trust in critics. The musical symbols cascade down the page, the letter decays beneath them, and they all disappear into nothingness. I take it as satirical comment.
Keith Patchel, an American composer and musician, has died. He was 65. One of his musical legacies is the chamber opera “The Plain of Jars,” about America’s secret war in Laos. Anthony Haden Guest called it “the lineal descendant of Stravinsky’s ‘Nightingale’ and Alban Berg’s ‘Lulu’ and ‘Wozzeck.'” His “Pluto Symphony,” created for the Hayden Planetarium, was nominated for the 2015 Pulitzer Prize.
Contemporaneous, an ensemble of some two dozen musicians, started out at Bard College as the brainchild of a pair of undergrads. Now, more than a decade later, the ensemble is based in New York City and continues to thrive professionally. It will present its largest production to date on Sept. 18. Billed as The Day of Imagination, the program at the Irondale Center in Brooklyn will feature three sets over a full day, four world premieres, six hours of music, and 50 artists.
This short movie evokes the rich heritage of humankind’s creative responses to the natural environment over millennia. The creators of “water stone words” — filmmaker Ed O’Donnelly, sculptor Kenny Munro, and writer/poet Malcolm Ritchie — made the movie over a period of six days.
Have you ever seen a more revealing photo of Brion Gysin than the one on the cover of “His Name Was Master: Texts; Interviews”? It shows a profound sense of dislocation, something Gysin often talked about but rarely showed in his demeanor—which was characteristically grand and worldly and often laced with humor. This sprawling book by Genesis Breyer P-Orridge with Peter Christoferson and Jon Savage offers Gysin in talking mode. It is Gysin uncut. Having already been comprehensively reviewed in The Brooklyn Rail, it needs no review from me. More interesting than anything I might have to say is Gysin’s account of his brief, teenage involvement with the Surrealists. The disappointment, not to say trauma, of that experience was a harbinger of later ones.
Wednesday, Oct. 21, 7:30 p.m. A FREE ONE EVENT Featuring Vijay Gupta, violinist, founder of Street Symphony, a MacArthur Award-winner, and popular TED speaker; Hồng-An Trương, an artist using photography, sound, video, and performance, whose work has been shown at venues including the International Center for Photography, The Kitchen, and the Museum of Modern Art; and Hank Willis Thomas, a conceptual artist whose work has been exhibited at the International Center of Photography; Guggenheim Museum Bilbao, Spain; and Hong Kong Arts Centre; and who collaborates on the artist-run initiatives for civic engagement For Freedoms and the Wide Awakes. This cross-disciplinary panel will be moderated by Sarah Lewis, associate professor at Harvard University; a leading commentator on race, contemporary art, and culture; and a much-viewed TED speaker.
Readers wanted to know all about their celebrities, or at least about my encounters with them. From A-listers and B-listers right down to Z-listers. The whole stupid alphabet top to bottom. Names to be forgotten one day. They needed the publicity and I needed the job. I wasn’t a star fucker—I’ll say that, having come from the newsroom with no more interest in celebrities than any routine reporter. I was a stand-in for star fuckers.
This is bliss . . . and so is this . . . especially in tough times. MEDITAÇAO & CHEGA DE SAUDHADE (A.C.JOBIM) ANDREA MOTIS Y JOAN CHAMORRO LIVE AT JAMBOREE — Barcelona :: Andrea Motis & Joan Chamorro Quintet Featuring Scott Hamilton [Andrea Motis, voz ,trompeta & saxo; Joan Chamorro, contrabass; Scott Hamilton, tenor sax; Ignasi Terraza, piano & Hammond; Josep Traver, guitarra Esteve Pi, drums.]
For a high-speed Sunday morning . . . Paul Altman commented on YouTube, “Lennie had the bass and drums recorded, and then using the reel-to-reel technology of that time, slowed them down to half speed, and then recorded the solo as an overdub an octave lower and at 1/2 of the speed released here. Then he sped the whole thing back up by 2X so that the bass and drums returned to their original recorded pitch and speed, but his piano solo was now twice as fast, and an octave higher, than he recorded it at. [Some people think that’s cheating, but] I’m not sure what all the fuss is about. Maybe some people assume that mediocre playing can be made to sound superlative by merely doubling the speed. But it doesn’t work that way. It just ends up sounding like fast, mediocre music.”
Bach: Brandenburg Concerto No. 6, BWV 1051 | movement i. performed Aug. 10, 2019, at the Norfolk Chamber Music Festival by Shuhan Wang (viola); Bethany Hargreaves (viola); Ole Akahoshi (cello); John Belk (cello); Clare Bradford (cello); Amy Nickler (double bass); Hilda Huang, (harpsichord).
Three Rooms Press has just published RAY BY RAY, a combination memoir-biography by Nicca Ray, daughter of the maverick Hollywood director Nicholas Ray, with an introduction by Samantha Fuller, daughter of another Hollywood maverick, the screenwriter/director Sam Fuller. The publisher will present a livestream book launch Saturday afternoon—May 9 @ 2pm-4pm EST — featuring the […]