Podcasts about Robert Ashley

Episode 152 Chapter 13, Edgard Varèse and The Listener's Experiment. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: CLASSICAL MUSIC WITH ELECTRONICS Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape. 24:49 01:36 2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack. 05:07 26:28 3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape. 10:29 31:24 4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.  08:39 41:50 5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds. 07:03 50:36 6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape. 15:44 57:34 7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration. 12:52 01:13:18 8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration. 07:10 01:25:58 9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment. 30:15 01:33:10 10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work. 09:34 02:03:26     Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 158 Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.  Playlist: THE COOPERATIVE STUDIO FOR ELECTRONIC MUSIC, ANN ARBOR Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Gordon Mumma, “Music from the Venezia Space Theater” (1963-64). Tape composition produced with Robert Ashley at the Cooperative Studio for Electronic Music in Ann Arbor, for Milton Cohen's Space Theater. 12:01 01:38 2.     Robert Ashley and Bob James Trio, “Wolfman” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:08 13:25 3.     Robert Ashley, Gordon Mumma and Bob James Trio, “Untitled Mixes” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:19 19:34 4.     Gordon Mumma and Bob James Trio, “And On” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 08:54 24:50 5.     Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 12:20 33:54 6.     Robert Ashley, “She was a Visitor” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:56 46:00 7.     Gordon Mumma, “Horn” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:22 51:54 8.     Robert Ashley, Purposeful Lady Slow Afternoon (1968). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 10:15 58:18 9.     Alvin Lucier, “Vespers” (1969). Performance piece for echolocating devices, first produced in Ann Arbor at the Once Festival. 10:03 01:08:27   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 145 Chapter 06, Analog and Digital Synthesis Basics, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 2 from my book Electronic and Experimental music.   Playlist: Analog Synthesis and Sound Modification   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1 Richard Maxfield, “Prelude, Pastoral Symphony” (1960). Tape piece combining electronic sounds with the modulated sounds of nature. 04:02 01:36 2 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Tape piece of processed acoustic sounds. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française.” Kyrou is the rare example of a woman composer using the French studio.  5:09 05:09 05:36 3 Hugh Le Caine, “Safari: Eine kleine Klangfarbenmelodie” (1964). Used extensive additive synthesis and texturing by means of the Sonde, an instrument equipped with 200 closely tuned sine tones. 03:09 10:44 4 David Behrman, “Wave Train” (1966). Used analog circuits, internal feedback, audio processing in real time. Recording is from a flexi-disc released by Source: Music of the Avant Garde in 1968. 15:34 13:52 5 Steve Reich, “Come Out” (1966). Tape piece experiment with tape loops and phasing of vocal passages. 12:53 29:22 6 Gordon Mumma, “Horn” (1967). Performance released on flexi-disc for Aspen Magazine No. 1 (1967). Performed at the Once Festival in Ann Arbor, Michigan by Mumma, Robert Ashley, and George Cacioppo. Acoustic sounds modified electronically in real time. 06:22 42:14 7 Pril Smiley, “Eclipse” (1967). “Eclipse” was realized at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work, “Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” 7:56 07:56 48:46 8 Charlemagne Palestine, “Seven Organism Study” (1968). Used feedback and analog synthesis for this drone work. 07:53 56:36 9 Hugh Davies, “Salad” (1977). From the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 13:55 01:04:24 10 David Lee Myers, “Periodicity, track A1” (1988). Analog feedback circuits controlled in real time. 02:36 01:18:16   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

On this episode of Songs of Our Lives, it's Sarah Belle Reid! She's got a fantastic new record, “Accidental Ornithology,” in collaboration with Vinny Golia (the legend!) out now. It's such a fun record. We talk about that a bit, Vinny's magic, and her learning synthesis courses. Then, it really goes places with memories of Taj Mahal, finding joy in playing music, all the places Mahler's 5th takes us, Else Marie Pade's underappreciated greatness, Robert Ashley, SOPHIE, Wynton Marsalis, Parmegiani, Laurie Anderson, and more!Listen to all of Sarah's picks HERE“Accidental Ornithology”Sarah's WebsiteSarah on InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel GardenSong ListTaj Mahal “I Need Your Loving”“How Deep Is The Ocean”Mahler “Symphony 5”Else Marie Pade “Symphonie Magnétophonique”Nat King Cole “The Very Thought of You”Wynton Marsalis “Blood on the Fields”Robert Ashley “Improvement”Doc Cheatham & Nicholas Payton (any)Keith Jarrett & Charlie Haden “Jasmine” (album)SOPHIE “Faceshopping”Charlie Haden, Liberation Music Orchestra “Goin' Home”Bernard Parmegiani “De Natura Sonorum”Laurie Anderson “O Superman”Louis Armstrong “What A Wonderful World”

Lieutenant General Robert Ashley was the senior advisor to the Secretary of the Army and Chief of Staff of the Army for all aspects of intelligence, counterintelligence, and security before becoming the Director of the Defense Intelligence Agency (DIA). LTG Ashley joins Adam to share his journey and his best lessons and advice. LTG Ashley and Adam discuss a wide range of topics: leadership, career success, relationship building, trust, motivation and persuasion, introversion, and much more.

Episode 133 Sonic Adventures in Electronic Composition—The Ashley, Smith, and Hamilton Mix Playlist Time Track Time Start Introduction –Thom Holmes 05:35 00:00 1.     Tom Hamilton, “London Fix 2” from London Fix (2003 Muse Eek). Composed and produced by Tom Hamilton; Programmed by Michael J. Schumacher. Tom Hamilton first made his living in audio production then gradually shifted all of that work to new music. Tom worked on almost all of the late Robert Ashley CDs and tours since 1990. This disc is subtitled "Music Changing with the price of Gold. An environment of continuous electronic music created through a programming residency at Engine 27, New York City. Please play softly.” 08:13 05:42 2.     Kaitlyn Aurelia Smith, “Who I Am & Why I Am Where I Am” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith. Kaitlyn Aurelia Smith is an American composer raised on Orcas Island in northwest Washington state. She attended the Berklee College of Music in order to study composition and sound engineering. Smith is a vocalist, classical guitarist, and electronic musician using a variety of modular setups. 05:20 13:56 3.     Kaitlyn Aurelia Smith, “I Am Curious, I Care” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith. 03:44 19:22 4.     Kaitlyn Aurelia Smith, “I Will Make Room For You” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith. 04:58 23:08 5.     Kaitlyn Aurelia Smith, “To Feel Your Best” from The Kid (2017 Western Vinyl). Composed, produced, and performed by Kaitlyn Aurelia Smith. 06:20 28:07 6.     Robert Ashley, “Superior Seven” from Superior Seven / Tract (1995 New World Records). Flute and computer programming, Barbara Held; Computer Programming, processing, and mixed by Tom Hamilton; synthesizer voices designed by Robert Ashley and Tom Hamilton; composed by Robert Ashely. Ashley was mostly known for his modern operas composed of dialog and new music. As a result, this instrumental work may not be what you expect from him. Superior Seven dates from 1988, just after the introduction of MIDI. Ashley fully explored MIDI for this work, writing a solo flute part with piano and a MIDI orchestra. Music was written for a flute player and pianist and audible cues triggered the engagement of MIDI instrumental parts controlled by a participating electronic musician (Hamilton). I saw this performed live and the results were startling. 30:15 34:16   Opening background music: Tom Hamilton, “Region 6” (excerpt) from Sebastian's Shadow (1997 Monroe Street Music). Electronics and composed by Tom Hamilton. Sebastian's Shadow follow the harmonic order found in J. S. Bach's Fantasia And Fugue No. 4 (BWV 542) (15:23). Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

On this episode of Songs of Our Lives, it's more eaze! It took us a year, but we finally made this episode happen and the wait was well worth it. We could have chatted for hours about both of her new records - ---__--____ ‘s “Night of Fire” and the solo splendor of “lacuna & parlor,” but there was so much more to talk about. We go long on a song about a dog that is absolutely crushing, the distressing genius of The Red Krayola, Robert Ashley's all-timer of all-timers, Astrid Sonne, Parsley Sound, Sufjan, and so much more!Listen to all of more eaze's picks HEREmore eaze “lacuna & parlor”---__--____ “Night of Fire”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

In this episode, we get to know the world of composer, musician, producer and vocalist Holger Hartvig, also known as Spellcaster as well as Anybard, and Anybardinthegrass. Hartvig shares with us some of their inspirations including Robert Ashley, Cornelius Cardew, and the soundtrack of the video game Heroes of Might and Magic III. They open up about their process for creating characters for their storytelling, playing with fictional narratives in their music and discuss their use of roleplaying and game systems as tools for composing, imagining characters' stories, and their performances. These games and systems have allowed Hartvig to design their own musical frameworks and create fragmented soundscapes tied together with their vocals and narration. Through this experimentation, Hartvig's music evokes a sense of fantasy and brings audiences deeper into the world of their characters. Check out this episode if you are interested in hearing more on their recent libretto, their album Memo, and exciting news on new projects. Hosts: Macon Holt & Ivna Franic Guest: Holger Hartvig aka. Spellcaster Jingle: Simin Stine Ramezanali Passive Aggressive Conversations is a collaboration between The Lake Radio and Passive Aggressive. It is supported by Tuborg Fondet, Augustinus Foundation, The Danish Arts Foundation and KODA. TRACKLIST: Spellcaster - Muted Singers music from Heroes of Might and Magic III Robert Ashley - Characters Cornelius Cardew - Hammer of the working class

Composer Arnold Dreyblatt has carved a unique course through contemporary music, combining just intonation with a vigorous self-devised approach to 20th-century minimalism. In this episode, he discusses how Mexican folk music, Tony Conrad and Robert Ashley shaped his work. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

Internationally celebrated Brussels musical ensemble Ictus is presenting Liquide Room No 10 at the Maison de la Poste at Tour & Taxis on 17 March. This 10th edition, subtitled ‘Robert Ashley And The Theatre Of Voices', is part of Klarafestival, an annual classical and new music cultural event. The name Liquid Room highlights the nature of the show which takes the form of a mini festival composed of four stages in the same space on which four different groups of musicians play simultaneously and the audience is encouraged to wander between the stages or sit or stand stationary. The concert is in English. Ictus member Tom Pauwels tells us about visionary American composer Robert Ashley and what we can expect during the concert. https://www.ictus.be/

Georgia talks with Tamara Kneese about how the software of the platform internet works against the social flows of grieving, and mourning. Mike then talks about men who throw ping pong balls into solo cups. ALSO: chill, lo-fi, public domain beats.–Share the show with a friend! https://www.neverpo.st/–Call us at 651 615 5007 to leave a voice mailDrop us a voice memo via airtable: https://airtable.com/appIvXY8gz5ikRbF0/pagjGcjdYg2alw8cD/formOr email us at theneverpost at gmail dot com–Please go listen to the podcast ICYMI if you want to hear more smart people say really smart things about the internet. They can be found anywhere you get your podcasts.–Intro LinksRascal News -- https://www.rascal.news/New York Times -- Supreme Court to Decide How the First Amendment Applies to Social MediaThe Atlantic -- Texas's Social-Media Law Is Dangerous. Striking It Down Could Be Worse.NBC News -- Supreme Court justices express free speech concerns about GOP-backed social media lawsThe Verge -- Yahoo lays off the leaders of EngadgetTerrence O'Brien -- layoff announcementLA Times -- Vice.com News Site Shut Down Reuters -- Vice Media to be acquired by Fortress-led lender group for $350 millionMegan Greenwell -- Fortress Investment Group destroys GannettNew Hour – Gannett Journalists Walk OutRIP Corp: VICE DocsJules Suzdaltsev -- NowThis News video deletionErnie Smith -- Archiving VICEJules Suzdaltsev -- Buying VICE archive–Online MourningFind Tamara:https://www.tamarakneese.com/Death Glitch: https://yalebooks.yale.edu/book/9780300248272/death-glitch/ Adriana's tiktok: https://www.tiktok.com/t/ZPR3BfJxc/–Trickshot TimeworkersWatch some Trickshotters:Dude Perfect, https://www.youtube.com/user/corycotton, https://www.tiktok.com/@dudeperfect Sam “Trixshot” Carlson, https://www.tiktok.com/@teamtrixshot, https://www.trixshot.com/https://www.tiktok.com/@thatsjustunrealhttps://www.tiktok.com/@magicofmatthttps://www.tiktok.com/@hulett_brothershttps://www.tiktok.com/@thebadertscherhttps://www.tiktok.com/@nextlevel_trickshots_Kierkegaard, Repetition: https://en.wikipedia.org/wiki/Repetition_(Kierkegaard_book)Antonia Pont, A Philosophy of Practising With Deleuze's Difference and Repetition,  https://hdl.handle.net/10536/DRO/DU:30155974Albert Camus, The Myth of Sisyphus, https://en.wikipedia.org/wiki/The_Myth_of_SisyphusTara Asgar:https://hyperallergic.com/826119/tara-asgar-embraces-freedom-in-sadness/https://www.newschool.edu/parsons/faculty/tara-asgar/–Citizen DJCitizen DJ -- https://citizen-dj.labs.loc.gov/Brian Foo -- https://brianfoo.com/A brief guide to the law and ethics of the digital sampling of recorded sound materialsSend us your tracks! We might use them on an upcoming episode.Interstitial 1 contains samples of "Off the record interview with Barry White, 1987-04-03" by Smith, Joe (1928-) (Interviewer) and White, Barry (1944 - 2003) (Interviewee). Retrieved from Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.Interstitial 2 contains samples of "Off the record interview with Randy Newman, [1986-1988?]-04-15" by Smith, Joe (1928-) (Interviewer) and Newman, Randy (Interviewee). Retrieved from Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.Interstitial 3 contains samples of "Bull frog blues" by Brown, Tom -- Composer, Six Brown Brothers -- Musical Group, Klickmann, F. Henri -- Arranger, Shrigley, Guy -- Composer, Brown, Fred -- Instrumentalist -- Alto Saxophone, Brown, Alec -- Instrumentalist -- Baritone Saxophone, Brown, Vern -- Instrumentalist -- Bass Saxophone, Brown, Tom -- Instrumentalist -- Alto Saxophone, Fink, Harry -- Instrumentalist -- Tenor Saxophone, and Brown, William -- Instrumentalist -- Tenor Saxophone. Retrieved from Library of Congress, National Jukebox.-Never Post's producers are Audrey Evans, Georgia Hampton and The Mysterious Dr. Firstname Lastname. Our senior producer is Hans Buetow. Our executive producer is Jason Oberholtzer. The show's host is Mike Rugnetta. We have undertaken something, the consequences of which we know notWe imagine we will be forced to chooseSomething in us dramatizes the choiceWe have created a universe of oppositesWhich cannot be reconciledWe have created a dichotomyThe parts of which we cannot interpretExcept of HEADLINES from ATALANTA, Acts of God by ROBERT ASHLEY

Greetings! This week's program is one of those where "real life" intrudes upon the amount of time available to spend on selecting music to air.  With this in mind, the tracks you'll hear are fairly long, though with no compromise made in quality. (Like I would do that...) Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com  Twitter-like x-thing: https://twitter.com/envpusher1    2-3-23 PTE Playlist dreaming of a major third – a composition for the clocktower of MASS MoCA - Christina Kubisch - Editions RZ (1997) https://christinakubisch.de/releases/dreaming-of-a-major-third-a-composition-for-the-clocktower-of-mass-moca    promise2 | no matter how bad it gets - meant - this is how much - self-release (2023) https://meant1.bandcamp.com/album/this-is-how-much    Rïah Sahïltaahk - Magma - 1001° Centigrades aka Magma 2 - Seventh Records (1971) https://seventhrecordsmagma.bandcamp.com/album/magma-2    Superior Seven (Concerto for Flute and Orchestra - for Barbara Held) - flute: Barbara Held / computer programming: Tom Hamilton & Barbara Held / synthesizer voice design: Robert Ashley & Tom Hamilton / composer: Robert Ashley - Superior Seven / Tract - New World Records (1995) https://www.newworldrecords.org/products/robert-ashley-superior-seven-tract?_pos=1&_sid=df8d4be51&_ss=r&variant=31927519936591    Second Covergence Three - Kevin Kastning / Carl Clements / Sandor Szabo - Convergence II - Greydisc Records (2021) https://kevinkastning.bandcamp.com/album/convergence-ii 

Podcast de Caroline Bergvall pour websynradio : VOICES WITH TEXTS... Morceaux et textes par des poètes et musiciens, solo ou en collaboration. Avec les voix et les sons de Lee Ann Brown, Tom Phillips & Gavin Bryars, Sawako Nakayasu, Ida Börjel & Mathias Kristerson, Caroline Bergvall & Adam Parkinson, Fred Frith, Pauline Oliveros & John Giorno, Charles Bernstein & Ben Yarmolinsky, Rosmarie Waldrop,Will Montgomery & Carol Watts, Robert Ashley, Tracie Morris, Laurie Anderson, Linh Dinh, Cia Rinne & Sebastian Eskildsen, Vincent Broqua, Barbara Barg & Barbara Ess, Bernadette Mayer.

According to Britannica, a musical composition is the art of conceiving and creating music. I love to sing, and I very much enjoy listening to music. That part I get, but to compose music, to pick out the notes, the instruments… I'm completely at a loss. Fortunately, we have three women composers with us today who will explain what it means to be a female composer in today's music world.For this BCR program, we spoke with Svjetlana Bukvich, best known for her blending of classical music, media and electronic music. Sarajevo-born and NYC-based -- Svjetlana is widely regarded as an innovative, dynamic, multimedia American composers. Her music has been heard at The Kennedy Center, the Tribeca Film Festival, Brooklyn's Bargemusic, Rose Studio at Lincoln Center – and many other venues.Beth Anderson Harold is a composer of new romantic music, text-sound works, and music theatre events. Her early work was considered post-Cagian and non-academic. Beth studied with John Cage, Terry Riley, Robert Ashley and Larry Austin at Mills College and U.C. Davis. You can catch her beautiful compositions at New World Records and many other places on the web.Gramophone described Debra Kaye as “an eclectic unfolding of creativity.” Debra has won 6 Global Music Awards and received grants from Mannes College, Meet the Composer, and Edward T. Cone Foundation; and commissions from the Howland Chamber Music Circle and Portland Youth Philharmonic; Ms Kay's works have premiered at Carnegie Hall's Weill Recital Hall, in collaboration with the Lincoln Trio and Daedalus Quartet. Rebecca McKean Hosted on Acast. See acast.com/privacy for more information.

Episode 110 Before and After Ambient, Part 1 Playlist Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie's was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions. John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original's sense of suspended time and energy. I also like William Orbit's version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage's original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program. Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn't find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd. Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters. Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix. Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized. Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius. Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno's composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes. Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album. Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes. Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended. Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno. Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel). Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music. Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Robert Ashley, host of A Life Well Wasted, talks about games journalism, podcasting, music, food, parenting, learning, and why he cares about video games.A Life Well Wastedhttps://alifewellwasted.com/I Come to Shanghaihttps://icometoshanghai.com/

Editor and host Robert Ashley sits down with Max to talk about reviving the timeless internet radio show A Life Well Wasted, how good material is king, and the act of listening. Download a transcript of this episode here. Why Now? A Life Well Wasted Milky Way Underground Steam Controller Editing in Space and Time Reaper Childlike Wonder Miyamoto Climbing Trees Ōkami Robert's Ōkami Review – EGM 207, Sept. 2006 97.5 the Brodeo Robert's Giant Bomb Profile GFW Radio Ep. 116, June 26, 2008 Shawn Elliott Story and Presentation Tetris Movie Trailer Max's Tetris Effect Review Musical Scaffolding Bubzia's GDQ 2021 Blindfolded Super Mario 64 Speedrun Blind Gamer Beats Ocarina of Time (2008) Blind Gamer Beats Ocarina of Time (2016) Runnerguy2489's GDQ 2015 Blindfolded Ocarina of Time Speedrun I Come to Shanghai Trusted Storyteller Jeri Ellsworth Keeping Valve AR Tech Tilt Five AR Tabletop Glasses A Radio Dominated Time Lucky Ju Ju Pinball Museum A Life Well Tasted Flour Water Salt Yeast by Ken Forkish Cookbook Roundup - A Life Well Tasted Yan Can Cook Pasta by Missy Robbins Kimchi Smash Burger Sweet & Spicy Wings Robert Ashley Robert's Twitter @RobertAshley A Life Well Wasted Max Frequency Chapter Select Season 0 – The Last of Us Season 1 – Paper Mario Season 2 – God of War Season 3 – Banjo-Kazooie Season 4 – The Fast and the Furious Season 5 – Resident Evil Max's Twitter @MaxRoberts143

TODAY'S SHOW WE TALK ABOUT 4 PEOPLE KIDNAPPED IN MEXICO 2 KILLED I WOUNDED GETTING SURGERY. THEN JA MORANT SAGA , AND A MOTHER AND HER DAUGHTER ARRESTED FOR NO REASON SUE CALIFORNIA AND WIN 8.5 MILLION LAWSUIT MIGHTY G FORCE NATION RADIO LLC 4 months ago SCAN OUR QR CODE AND GET US ON ALL PLATFORMS https://qrtiger.com/3F3S MIGHTY G FORCE NATION RADIO LLC 11 months ago (edited) WE ON AIR 24/7 WITH THE BEST THROWBACK HITS THIS IS THE LINK TO OUR RADIO STATION LIVE STREAM https://gfnsoulglobal.tv/gfn-souln-y-cGET US ON YOUR ROKU TV HERE THE LINK https://channelstore.roku.com/details... GET US ON AMAZON FIRE TV OR FIRE STICK HERES THE LINK https://www.amazon.com/autopo-st-GFN-... GET OUR TV STATION ON ROKUhttps://channelstore.roku.com/details/6b731ebb6c162608accea025d2e77ad4/gfn-soul-tv ONLINE TV STATION 24/7 https://watch.gfnsoulglobal.tv/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mightygforcenation/message

Hayao Miyazaki's Spirited Away is one of those rare films that is both super popular and super weird. Rife with cinematic non sequiturs, unforgettable imagery, and moments of horror, it is an outstanding example of a story form that goes all the way back to the myth of Psyche and Eros from Apuleius's Golden Ass, if not earlier. In this type of story, a girl on the cusp of maturity steps into a magical realm where people and things from waking life reappear, draped in the gossamer of dream and nightmare. Musicologist and WS assistant Meredith Michael joins JF and Phil to discuss a strange jewel of Japanese animated cinema. Support us on Patreon (https://www.patreon.com/weirdstudies) and get early access to Phil Ford's new podcast series on Wagner's Ring Cycle. Sign up for JF's upcoming online course (https://www.nuralearning.com/weird-macbeth) on Shakespeare's Macbeth on Nura Learning. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) REFERENCES Hayao Miyazaki, Spirited Away (https://www.imdb.com/title/tt0245429/) Kyle Gann, Robert Ashley (https://bookshop.org/a/18799/9780252078873) Robert Ashely, [Perfect Lives](https://ubu.com/film/ashleyperfect.html)_ Apuleius, “Psyche and Eros” from The Golden Ass (https://bookshop.org/a/18799/9780199540556) Henri Bergson, Time and Free Will (https://bookshop.org/a/18799/9780486417677) Kentucky Route Zero (http://kentuckyroutezero.com/), video game Legend of Zelda Breath of the Wild (https://www.zelda.com/breath-of-the-wild/), video game Jean Sibelius, 5th Symphony (https://www.youtube.com/watch?v=EcjvvBbZhn4&ab_channel=hr-Sinfonieorchester%E2%80%93FrankfurtRadioSymphony) Quentin Tarantino (https://www.imdb.com/name/nm0000233/), film maker Mark Rothko (https://en.wikipedia.org/wiki/Mark_Rothko), American painter Giles Deleuze, “What is the Creative Act?” (https://www.kit.ntnu.no/sites/www.kit.ntnu.no/files/what_is_the_creative_act.pdf) GK Chesterton, Orthdoxy (https://bookshop.org/a/18799/9781952410482) Herman Hesse, Siddhartha (https://bookshop.org/a/18799/9780553208849) Andrew Osmond, BFI Guide to Spirited Away (https://bookshop.org/a/18799/9781838719524) Special Guest: Meredith Michael.

It's the holiday season and we here at Waypoint are giving y'all our first gift! We've had the chance to interview Robert Ashley, creator of one of the seminal video game podcasts: A Life Well Wasted. After nearly a decade, he's releasing a new episode and we're here to ask how it feels to return to a project after so long, how the podcast got started in the first place, and how being online has changed since the podcast started. Before we dive in though, Ren's got new updates on her Dwarf Fortress fort, Patrick's not feeling particularly high on High on Life, and Rob's wishing there were maybe a little more strategy in Triangle Strategy. 26:44 Dwarf Fortress, 34:57 High on Life, 44:08 Cyberpunk 2077, Triangle Strategy 45:04, Interview with Robert Ashley 53:59, The Question Bucket 2:10:49 Hosted on Acast. See acast.com/privacy for more information.

Joan speaks about her journey into singing, new music and composing. She worked with fellow musicians John Cage Morton Feldman, Robert Ashley, Alvin Lucier, David Behrman, Steve Reich, Philip Glass and her husband, Morton Subotnick and talks about her experiences developing pieces with these composers who wrote for her unique abilities, concepts and specialized techniques. She talks about composing, writing and specific aspects of the human voice and how she found her own means of expressing her inner thoughts and ideas.

Robert Ashley finds out what it takes to speedrun games in a blindfold, visits a museum in Moscow dedicated to Soviet-era arcade machines, and talks to a group of friends about a childhood summer spent dreaming up a game of their own.

John Sanborn. Between Order and Entropy. Works 1978–2022 | Guided tour with the artist [09.07.2022 – 30.10.2022] The exhibition »Between Order and Entropy« presents the work of the American artist John Sanborn, who became one of the most prominent protagonists of the American video art scene in the 1970s and 1980s. Sanborn's work ranges from the beginnings of experimental video art to MTV music videos, interactive art, and digital media art. Consulting with Apple and Adobe, he contributed to shaping the possibilities of new image tools and was instrumental to the dawning of the digital image revolution in California. Sanborn's recent work consists of complex media installations that address issues of cultural identity, memory, mythologies, and the human compulsion to tell stories. This exhibition, which is the largest in Europe devoted to the work of the artist, who worked closely with the founder of video art Nam June Paik and the composer Robert Ashley, brings together a collection of works that spans over four decades of sound, music, interactive media and video exploration. After working in Hollywood and Silicon Valley for several years, Sanborn has produced a variety of new media installations since 2015, elevating issues of identity and inclusivity. For the exhibition, which will take place inside the museum galleries and on the museum balcony at the ZKM, several works were commissioned, including »a dog dreams (of god)«, and a Virtual Reality iteration of a recent work, »The Friend«, featuring the actor and director John Cameron Mitchell. A comprehensive publication on John Sanborn's work will accompany the exhibition.

Haunting organs, sitting inside tape loops, endless questions. The Oslo-based multidisciplinary artist discusses three important albums.Jenny's picks:Henning Christiansen –  Op. 50 Requiem Of Art (Aus "Celtic") Fluxorum Organum II Robert Ashley – Private PartsLost Girls –  MenneskekollektivetJenny's new album, Here Is Always Somewhere Else, is out now via Breton Cassette. Check it out on Bandcamp. Jenny's website is here, and she's also on Instagram.Donate to Crucial Listening on ko-fi: https://ko-fi.com/cruciallistening

00:00:00 Metzengerstein - 00:04:21 Los Hijos Del Sol - Si Me Quieres 00:07:33 Tsx X Psygod - Ʇlǝɯs /Li> 00:09:39 Dprmkr - Flowers A Sun Hazy 00:13:09 Jake Meginsky - Labmeat 00:16:56 La Boussole - Sambterlude 00:18:58 A. K. Klosowski - Wake Up Wake Up 00:22:15 Frantz - Madshoes 00:27:54ICE - Skyscraper 00:32:28Flatbush Zombies - D.R.U.G.S. 00:35:25 Joan La Barbara & Robert Ashley - The Angel Of Loneliness 00:40:29 Lieutenant Caramel - Evil Is Hell 00:45:44Dysthymia - A Sudden Impulse Of Self-Destructive Behaviour 00:52:56 Léo Kupper - Litanea 1987 00:56:21 Credo Zone - Patina No Title 01:00:40 Paola Torres Núñez Del Prado & The People Of Tupicocha - To Wear Quipus Or Cables 01:06:16 Jonwayne - The Job 01:09:30 La Carotte (Jingle Ouïedire) Le Tremellodon gélatineux est un champignon tremblottant et tout gélatineux. Il est épais, tendre, couvert de petites papilles en relief, avec de gros poils transparents à la base. (Champignons / Georges Becker, 1983)

Episode 66 Those We Have Lost—Electronic Musicians Who Passed in 2021   Playlist In this episode, we pay tribute to electronic composers and musicians who passed in 2021. I've put together what I hope will be a satisfying playlist of these diverse artists and their works. Alvin Lucier, “Vespers” from Electric Sound (1972 Mainstream). This work was performed by Lucier and other members of the Sonic Arts union, David Behrman, Robert Ashley, and Gordon Mumma. The musical instrument was a device not intended for making electronic music. It was the Sondol, a hand-held pulse oscillator designed for “boat owners, acoustic engineers, and the blind.” Lucier bought a few of these devices and worked out a piece for echolocation. Each performer was equipped with a Sondol and asked to move blindfolded inside a defined performing space. This resulted in a work comprised of four independent streams of percussive pulses that sound as if they have their own relationship to one another as each musician moves about in the space. VESPERS is written as a prose score in which Lucier invites the performer to explore the world beyond human limits: “Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.” Richard H. Kirk, with Cabaret Voltaire, “Let it Come Down” from International Language (1993 Plastex). This album was released during a period of transformation for CV. Founding member Chris Watson had left to pursue other sound interests, while Mallinder and Kirk remained and headed into the instrumental direction embodied by dance music. The liner notes for this album state, “Abandon thinking. Everything you will hear in the next seventy-four minutes is true. This music is dedicated to the Merry Pranksters past present & future.” Not sure what that means, but hey. This group was fantastic. Richard H. Kirk, solo, "Information Therapy" from Disposable Half-Truths (1980 Industrial Records). This was from Kirk's first solo cassette release while he maintained his parallel work with Cabaret Voltaire. Joel Chadabe, “Rendevous” from Rhythms for Computer and Percussion (1981 Lovely Music). Joel had such a long list of accomplishments in electronic music, a pioneer of analog systems as well as computer music. On this album, his collaboration with percussionist Jan Williams was startlingly fresh. Electronics, computer synthesizer system (Synclavier), Joel Chadabe; percussion, wood block, vibraphone, marimba, slit drum, log drum, temple block, cowbell, singing bowls, Jan Williams. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music." Jon Hassell, “Abu Gil” Last Night The Moon Came Dropping Its Clothes In The Street (2009 ECM). Trumpet, keyboard, composed by Jon Hassell; bass, Peter Freeman; Live sampling, Jan Bang; guitar, Rick Cox; drums, Helge Norbakken; violin, Kheir-Eddine M'Kachinche. Jon Hassell, “Wing Melodies” from Power Spot (1981 ECM). Trumpet, composed by Jon Hassell; guitar, electronic treatments, Michael Brook; electric bass, Brian Eno; electronic keyboards (bass, percussion, string sounds), Jean-Phillippe Rykiel; percussion, acoustic and electronic, alto flute, J. A. Deane; produced by Brian Eno and Daniel Lanois. Sophie, Eeehhh” from Nothing More to Say (2012 Huntleys & Palmers). Electronics, vocals, composed and performed by Sophie Xeon. I chose a couple of earlier tracks that were largely instrumental experiments. Sophie, “Elle” from Bipp/Elle (2013 Numbers). Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. Malcolm Cecil, “Gamerlonia Dawn” from Radiance (1981 Unity Records). Composed By, Performer, Producer, Engineer, Malcolm Cecil. English bassist and inventor of the unique TONTO synthesizer ("The Original New Timbral Orchestra"), a massive integrated synthesizer system that was used on many analog electronic albums in the early 1970s. Episode 36 was devoted to Cecil's work so you might want to catch-up with that to get more detail about this amazing musician and producer. This track uses TONTO and also features the “golden flute” of Paul Horn. Peter Zinovieff, “M Piriform” from Electronic Calendar—The EMS Tapes (2015 Space Age Recordings). Computer music from 1981 by the founder of EMS, Peter Zinovieff, with composer/conductor Justin Connolly. Collaborating with classical composer Connolly, Zinovieff created the electronic music in his Putney studio, using computer-controlled audio generators, and combined it with instrumental parts written by Connolly for soprano, flute, and violin. This performance of the work was staged in 1969 and featured Jane Manning (soprano), Judith Pearce (flute) and Pauline Scott (violin), who all played along with a tape recording of the electronic part. Murray Schafer, “Threnody” from Threnody (Youth Music by R. Murray Schafer) (1970 Melbourne). This Canadian release features an instrumental work with electronic sound by Schafer, who is perhaps more familiar to us as a creator of soundscapes and ambient audio experiments. But he also worked in traditional instrumental music and featured electronics in some of these. There are not many recordings such as this example from 52 years ago. Background music: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

Episode 63 An Electronic Poetry Slam   Playlist Roland Giguere, “Les Heures Lentes” from Voix De 8 Poètes Du Canada (1958 Folkways). Spoken poetry intermixed with musique concrete by Francois Morel. The electronic music and poetry are never heard simultaneously on this album, but the music was composed to set the tone for each work that followed. 1:29. François Dufrêne & Jean Baronnet, “U 47” from A Panorama Of Experimental Music, Vol. 1: Electronic Music / Musique Concrete (1967 Mercury). Dufrêne was a French sound poet and visual artist who performed what he called "crirythmes," a style of vocal noises. The electronic music on tape was composed by Baronnet, who was a co-founder, with Pierre Henry, of Studio Apsome, their private studio for electronic music, after their break from the GRM studios of Pierre Schaeffer in 1958. Recorded under the supervision of Pierre Henry, in collaboration with the sound laboratories of the West German Radio (Cologne), Italian Radio (Milan), French Radio and Television (Paris), and the Studio Apsome (Paris). 3:33 Intersystems, “A Cave in the Country” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 1:50 Intersystems, “Carelessly Draped in Black” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 4:32 Bruce Clarke, “Of Spiralling Why” from The First See + Hear (1968 See/Hear Productions). From See/Hear, a quarterly publication of recordings of contemporary sound arts. There were three issues total. All from Canada. When there was electronic music, it was provided and created by Wayne Carr using a Buchla Box. Carr was associated with all three of the See/Hear albums/issues. This piece was commissioned for the Adelaide 1968 Arts Festival by the Melbourne ISCM, fragments of poetry were chosen at random from the unpublished works of the late Ann Pickburn, whom I believe you hear performing her words on this track. 9:35 Jim Brown and Wayne Carr, “Blues for Electric” from Oh See Can You Say (1968 See/Hear). Poetry and synthesizer. Poetry and voice, Jim Brown; engineer, Buchla Box, Wayne Carr. The second LP of this quarterly LP/magazine that seemed to only have three issues. “Wayne Carr plays synthesizer whenever it happens.” This is noted on another LP as a Buchla Box, so I've assumed that's what he used on all three albums. 3:09 bill bissett & Th Mandan Massacre (sp), “fires in th tempul” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 3:32 bill bissett & Th Mandan Massacre (sp), “now according to paragraph c” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 2:40 Ruth White, “The Irremediable” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 4:55 Ruth White, “The Cat” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 3:27 Charles Dodge, “Speech Songs: No. 1 When I Am With You (Excerpt)” and “Speech Songs: No. 2 He Destroyed Her Image (Excerpt)” from from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Realized at the Bell Telephone Laboratories for computer music in 1975. 3:45 William Hellermann, “Passages 13 – The Fire (For Trumpet & Tape)” from Peter Maxwell Davies / Lucia Dlugoszewski / William Hellerman, Gerard Schwarz, Ursula Oppens, The New Trumpet (1975 Nonesuch). Composed by William Hellermann; voices, Jacqueline Hellerman, John P. Thomas, Marsha Immanuel, and Michael O'Brien; words by Robert Duncan. This poem was first published in 'Poetry,' April-May 1965. Tape realized by Hellerman at the Columbia-Princeton Electronic Music Center. 25:28 Robert Ashley, “In Sara, Mencken, Christ And Beethoven There Were Men And Women (Excerpt)” from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Lyrics By – John Barton Wolgamot; Moog Synthesizer,Paul DeMarinis; Voice, Robert Ashley. Excerpt from an album-length work released in 1974 on Cramps Records. 3:53 Robert Ashley, “Interiors with Flash” from Big Ego (1978 Giorno Poetry Systems). A study for what would become Automatic Writing, a longer work by Ashley. recorded at Mills College, Oakland, California, May 14, 1978. Voice, Mimi Johnson; Electronics, Polymoog, Voice, written, produced, and mixed by Robert Ashley. 3:05 Joan La Barbara, “Cathing” from Tapesongs (1977 Chiaroscuro Records). Composed, produced, edited and sung by Joan La Barbara. The story behind this piece is a great one. In the 1970s, La Barbara, along with Meredith Monk, emerged in America as two of the premiere practitioners of avant garde vocalizing. Some might recognize the name of this piece as possibly a tribute to Cathy Berberian, the earlier generation's version of an avant garde diva (La Barbara and Monk would never consider themselves as divas in the sense that Berberian was). Rather than being a tribute to Berberian, La Barbara was responding to a radio interview (apparently broadcast during the intermission of her concert at the 1977 Holland Festival). Berberian was outspoken about the new generation of vocalists and wondered out loud how any respectable composer could write for “one of those singers.” La Barbara's response, composed in response, took excerpts from the interview (20 phrases), edited and rearranged them, altered them electronically to compose this piece. In her liner notes, she only identifies Berberian as another “professional singer.” Take that! 8:01. Laurie Anderson, “Closed Circuits” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). One of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. I think this was the tenth album from Giorno that began in 1975 with the Dial-A-Poem Poets. Electronics (Microphone Stand Turned Through Harmonizer), Wood Block, voice, Laurie Anderson. 7:23. Background music for opening Laurie Anderson, “Dr. Miller” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). Another of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. This is another version of a track that later appeared on Anderson's Unted States Live LP in 1984. Saxophone, Perry Hoberman; Synthesizer, Percussion, voice, Laurie Anderson. 4:19 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Gospel music has been around for a long time in the Dallas Fort Worth Metroplex. 1987 was the year that KHVN a Daytime Radio Station covered the DFW. The Station was located on Kimbo Road on the Northside of the city. During this podcast you are going to hear Robert Ashley, Mother Baker, Lajuanna Johnson, and the all time greatest announcer Brother Joe Bagby precious memories. This is a two part interview that is hosted by Cedric Bailey. Our part 2 will feature Warren Brooks, Drew Dawson and Katrina Bryant-Dawson at a later date. January 2021 was the last date to broadcast after a 34 year run. Please share this with your family and friends.

Alvin Lucier died the day we recorded this. I explain his seminal piece... poorly. Then we listen to the first episode as played from Brandon's computer, picked up by his mic, and then recorded from my computer speakers with my mic. As always with this episode, taking the wrong lessons from avant garde greats. We're never gonna get that CIA seed money. In keeping with the spirit of this episode, here's what Wikipedia says about Lucier. Alvin Augustus Lucier Jr. (May 14, 1931 – December 1, 2021) was an American composer of experimental musicand sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University in Middletown, Connecticut, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.

Host Jon Olson talks with LTG Robert Ashley, US Army (Retired), the former Director of the Defense Intelligence Agency. They discuss the US Intelligence Community's role in supporting American national security. This episode originally aired on October 27th 2021.

Host Jon Olson talks with LTG Robert Ashley, US Army (Retired), the former Director of the Defense Intelligence Agency. They discuss the US Intelligence Community's role in supporting American national security.

Host Jon Olson talks with LTG Robert Ashley, US Army (Retired), the former Director of the Defense Intelligence Agency. They discuss the US Intelligence Community's role in supporting American national security.

Host Jon Olson talks with LTG Robert Ashley, US Army (Retired), the former Director of the Defense Intelligence Agency. They discuss the US Intelligence Community's role in supporting American national security.    

Alec and Nick discuss the self-invented concept of the Bloomin' Onion Brain, conceived while drunk on a trip to Lake Gaston, NC. The discussion situates the dippable dish as a figure of Dionysian abstraction, wherein frenzies of self-forgetting give way to a primal unity that we experience in music and social life. Outback Steakhouse, intermedia works, the “groove,” the “para-textual,” composers Robert Ashley and C. Spencer Yeh, and philosophers Friedrich Nietzsche, Henri Bergson, and Gilles Deleuze are all examined within the context of this new concept. Opening skit: Matthew McConaughey voice reading over “The Backyard” from “Private Parts” by Robert Ashley (1978). Opening and closing theme music: Xander Seren

Lieutenant General Robert Ashley, USA (ret) was the 21st Director of the Defense Intelligence Agency (DIA). He retired in November 2020 after over 36 years of active-duty service as an intelligence officer. He had previously served as the Army’s lead for all intelligence (the Army Deputy Chief of Staff, G-2), where he was the senior advisor to the Secretary of the Army and Army Chief of Staff for all aspects of intelligence, counterintelligence and security.  During his long career he commanded organizations charged with gaining insights into adversary intentions and making them actionable for decision-makers. This included work overseas including six combat tours in Iraq and Afghanistan as a squadron, brigade commander, and Deputy Chief of Staff for Intelligence (J-2). Other tours included assignments leading intelligence for the Army Joint Special Operations Command; United States Central Command; and for all US forces in Afghanistan. He also led Army intelligence training and education. This OODAcast focuses on lessons for leaders of any organization, commercial, government or military. Some of the more enjoyable and interesting lessons come from being in the room with other great leaders. Imagine being in daily sessions with great's like General Mattis. Consider the lesson you would take away when you see General Mattis leveraging mentors. Time after time we see great, well read decision-makers continually seeking inputs from others, even when they have reached the pinnacle of leadership echelons.  Ashely's personal approach certainly has involved mentors and he mentions many, but his methods included learning of decision-making methods from any source. He called this approach being a "student of the human condition." The military's methods of continuing to grow and mature senior leaders is also discussed. These professional methods clearly pay off and could benefit any large commercial organization as well. General Ashley is well versed in mental models and decision-making and he references many. The OODA Loop of course, but the intelligence cycle, military COA development and others are also referenced. He also provides, in hindsight, an opinion on the most important decision he made as Director of DIA, something that may well be far more important than knowing what mental models to apply to what situation. One of the early critical thinking methods the military instilled in Ashley was a deep respect for history and a need to continue to examine lessons from the past that can be applied to today. His early exposure to this critical method of learning is directly related to the constant learning through reading that many in today's officer corps embody. Some of the books that has captured his attention lately include: The Gray Eminence: Fox Conner and the Art of Mentorship. This story of Fox Conner captures the incredible influence this individual had through mentoring others to great leadership. Some who credited him with their success include George Marshall, Ike Eisenhower and George Patton. First Principles: What America's Founders Learned From the Greeks and Romans and How That Shaped Our Country. By Pulitzer Prize winning author Thomas Ricks, this book underscores the importance of knowing which lessons from history are most relevant. The Return of Great Power Rivalry: Democracy versus Autocracy From The Ancient World To The U.S. and China. Some great historical context on why Democracies are better.  

Snot-caked pants, wild banshee shit, the cadence and emphasis of Robert Ashley. The New York-based composer and multi-instrumentalist discusses three important albums.

Consoles don’t really brag about bit ratings anymore. Growing up with games, the leaps between generations felt profound From 8 Bit to 16 Bit, to 32, to Nintendo 64! It was exciting. The last consoles to even mention it in their marketing were the Dreamcast and the Playstation 2. They were the 128 bit consoles. They were the end of an era.The same is true for Checkpoints. Episode 128 is the final episode.This isn't bad news. There will be a special Epilogue episode coming in a week or two where I’ll talk about the reason for the finishing the podcast in much more detail, suffice to say this isn't a sad ending. I'm just sticking the landing.Appropriately enough my final guest is the creator of the much loved and missed video game podcast A Life Well Wasted, Robert Ashley. Robert was one of the very first people I ever contacted about coming on the show, and I'm delighted that he decided to temporarily come out of video game podcast retirement to talk. As well as A Life Well Wasted, Robert is one half of the amazing I Come to Shanghai, a former video game journalist and of course a GFW radio alum.We talk about his formative video game experiences in Texan dive bars, how the internet ruined the mysteries and rumours of the arcade, how he invented new ways to play Super Mario Bros, his ultimately fruitless efforts to enjoy Final Fantasy, how an arcade called Einstein’s led to him dropping out of college, and why live events are often the best place to enjoy indie games.We also talk on his work as a journalist, the time he got into a brawl over Goldeneye, why he’d play Samba di Amigo with death, how Psychonauts still doesn’t get the credit it deserves and of course the history and future (!) of A Life Well Wasted.Thanks so much to everyone for listening and supporting the show. I have had the best time.Declan xPATREON - patreon.com/checkpointsiTunes HERE - SUBSCRIBE / RATE / REVIEWTheme song by Samuel BakerArt work by Craig Stevenson

Robert has been in a wheelchair since he was a teenager. He has connected with Ashley over the internet and thinks she is the woman of his dreams. But, even though the feelings seem to be mutual, it is obvious to Nev and Max that Ashley is hiding something. When they do finally bring the two together, the outcome shocks even them.Listen ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/catfish.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In which folks from VARISPEED stop by to talk about their work, including their mixed indoor/outdoor performances of Robert Ashley’s Perfect Lives. (Warning: contains spoilers and some content may be triggering.)

Next in our mixtape series comes with Prairie, the project of multi-instrumentalist and producer Marc Jacobs who has prepared a mix to submerge our minds into a semi-awake state, where senses are heightened and we experience sound and reality in a different way. Jacobs, with his Prairie output, has recently published a new album in Denovali Records "And the Bird Said: Cut Me Open and Sing Me", his second release on the experimental German label. With a sound that some have acquainted to a space between Bohren & der Club of Gore and Sunn O))), his releases are infused of a vivid cinematographic narrative. Sonic landscapes provided by layers of synths and instruments that remind us of the passing of time and the persistence of memory. "And the bird said", Jacobs says, "was inspired by the silence of the birds, the tone between a mother and her daughter, the Sandsnipe twins, constant wailing sirens... the memory of a Vangelis track". Composed in several locations from urban in the city, or in his studio Les Lacs and in the mountains of the French Cévennes, the producer integrates his various recording locations into his sound design, creating this ample and revealing sound, resembling the sights of vast fields in the early morning hours, when life is awaking surrounded by a layer of unknown mystery yet to be unveiled. Jacobs also works as a music consultant and as a curator of experimental and electronic music for various venues, events and festivals, among which the Centre for Fine Arts in Brussels (Bozar) and he is also the founder of Le Bureau Electronique, a platform dedicated to the promotion of leftfield music and arts in Belgium. This mixtape consists of various approaches to sound and music, where the artist has combined the different forms of production of the tracks in order to create a feeling of a narcotic or hypnagogic state: "It is a state I particularly enjoy, it enables surprising auditory connections and stimulates the imagination. I have chosen the tracks according to the connections they created with one another, like a cadavre-exquis – or how you can fall into a cascade of images or ideas just before you start dreaming". Tracklist (in order of appearance) Plastikman, Robert Ashley, Godspeed You! Black Emperor, Mt Gemini, Aymeric de Tapol, Francisco Lopez, Simon Fisher Turner, Lionel Marchetti, Kate Carr, Lawrence English, Niedowierzanie, Ernest Hoood

Formed by the merging of the disparate minds of composer-performers David Kulma and Dorian Wallace, Trystero is a duo brought together to perform Robert Ashley’s Perfect Lives and other Awesome Music. Trysteropod is a podcast where we talk about music, and apparently politics.Fan the Flames of Discontent - Bonita Oliver and Dorian Wallacewith Tenth Intervention and Sing In SolidarityCreator StatementsBonita:Humans have evolved extremely fast in the ways of technological advancement and the ability to think in the abstract. For all of our advancement in these ways we are still (comparatively speaking) unevolved in terms of spiritual consciousness. Amidst the current changes unfolding globally we are being offered a chance for deeper contemplation about our values, spirituality, and what connection really means. We have a chance to slow down and move in flow with our inner cycles rather than trying to race along under pressure. The pressure to consume, to conquer, to distance what is unfamiliar… It is all reactionary and based in fear. If we sit within our stillness we can feel the earth, that she is abundant, that we are not separate- but interdependent. We can focus on the energetic exchange between people rather than on collecting the material- when we know the earth promises us abundance. It is in this spirit that we recognize our true power. Union (with each other and with the earth) makes us strong.Dorian:Music bears witness to our discordant cries and tells the stories of our reality. In the depths of our tears, as hostages of circumstances, music takes us beyond words, and reveals our deepest ambitions and traumas.The story goes...A concerted and brutal war has been waged against the working people for a long time by a class-conscious business elite. They equate a democratic society with a capitalist economy, claiming that democracy is capitalism. This is a lie. Capitalism lays the foundation for an authoritarian system, and that system has failed.We have a human obligation to combat injustice, whatever form it takes. This obligation is inseparable from the development of democracy and the transformation of the lives of the poor and working people as a whole: the dismantling of white supremacy, male supremacy, transphobia and homophobia, the dominance of power and classes, and any other form of oppression.This piece is not only a call for action, but a call for solutions. Through empirical and evidence-based research, deep nurturing and spiritual contemplation, philosophical concepts being explored, and authentic artistic creativity, we aim to create a meaningful change against this white supremacist capitalist framework. Music has always been an essential part of political movements. Making music is the making of a connection between the physical and the metaphysical, creating a cohesive whole. Like music, politics is the shifting between conflict and harmony to find an equilibrium. Cooperation and mutual aid forms the foundation of the democratic process, which aims to find common ground and solutions to social challenges.A revolutionary unification of the working class can bring the end of tyranny, the birth of true democracy, and the dawn of human transcendence. We must unite now, for we are in a very real war.

In which we welcome back John Sanborn and join composers/performers Dorian Wallace and David Kulma, a.k.a. Trystero, to discuss their interpretation of Robert Ashley’s Perfect Lives. (Warning: some content may be triggering.)

[Click here for the YouTube video version] In which we discover how Dan can claim to have watched Robert Ashley’s groundbreaking television opera PERFECT LIVES from beginning to end more than 30 times but also claim that he has never seen it all. Join us and much of the original cast and crew as they reunite and reminisce about the production, its legacy and the man they knew as Bob. Featuring Peter Gordon, Mimi Johnson, Barbara Mayfield, John Sanborn, Carlotta Schoolman, Paul Shorr, David Van Thieghem, and Dean Winkler.  

Michael Berkeley’s guest is the artist Heather Phillipson whose giant swirl of cherry-topped, fly-blown whipped cream has recently been installed on the fourth plinth in Trafalgar Square. Heather was a serious classical musician in her teens, and often uses music she’s composed and performed in her work. She talks to Michael about music she’s loved since her childhood, including a Mozart symphony and Prokofiev’s Peter and the Wolf; a radical opera by Robert Ashley from the 1980s that has had a profound influence on her work; piano music by Grieg which reminds her of her grandmother; and the soaring emotional impact of Beethoven’s Piano Concerto No 5. Produced by Jane Greenwood A Loftus Media production for BBC Radio 3.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′0″ She's The Star/I Take This Time by Arthur Russell on World of Echo (Audika) 6′8″ Till Victory by Patti Smith on Easter (Arista) 9′39″ Evangelist by Ut on Peel Sessions 2/2/1988 (BBC) 11′25″ She Was a Visitor by Robert Ashley on Automatic Writing (Lovely Music) 17′9″ Cellogram by James Tenney on Postal Pieces (New World) 24′22″ Fresh Snow by Suzanne Ciani on Music from Denali (Finders Keepers) 28′45″ Movements of a Visionary by Tangerine Dream on Phaedra (Virgin) 35′55″ III by Miguel Flores on Lorca: Lost Tapes (1989​-​1991) (Buh Records) 43′14″ Little Darling Pal of Mine by The Carter Family on Les Triomphes De La Country Music (Habana) 46′50″ Loving You, Loving Me by Lee Hazlewood on For Every Solution There's A Problem (City Slang) 49′45″ Dress Sexy At My Funeral by Smog on Dongs of Sevotion (Drag City) 55′9″ Clementine by The Western Front on Orygun 7" (Whizeagle ) 59′6″ I Found My Way by Dusty Springfield on Dusty In Memphis (Atlantic) The next World of Echo is on Monday, September 7th at 7:00 am. Check out the full archives on the website.

Comedian and actor Rob Riggle sits down with DIA director Lt. Gen. Robert Ashley, Jr. to discuss Riggle's affinity for the military and his two-decade entertainment career.

Formed by the merging of the disparate minds of composer-performers David Kulma and Dorian Wallace, Trystero is a duo brought together to perform Robert Ashley’s Perfect Lives and other Awesome Music. Trysteropod is a podcast where we talk about music, and apparently politics.

Recently when Luke and John were in Krakow for Unsound, NTS radio kindly invited them to present their show The Quietus Hour live from the festival. When asked who, among all of the musicians, DJs and producers appearing that week, they would like to interview for the show, Matmos were top of their wish list. Drew Daniel and MC Schmidt are already responsible for one of tQ's favourite albums of the year in the shape of Ultimate Care II, which came out on Thrill Jockey and is based on the cycle of a washing machine using just samples from their own appliance. But the couple were in Krakow to perform three 'episodes' from Robert Ashley's "opera for TV", Perfect Lives, which was a clear highlight of the week, in a festival packed to the brim with intelligent and exciting programming. Martin and Drew came in to talk about this fascinating show and kindly tolerated Luke and John's pork and caffeine-addled gibbering and sub-par line of questioning... and they also brought in a fine selection of musical oddities for your sonic delectation.

Is the Bay Area in a housing bubble or a housing crisis?; housing on the ballot: a Q&A with reporter Liz Pfeffer; artist Martha Villa makes up her city; and composer Robert Ashley.