Composition by Erik Satie
POPULARITY
2 episodes with Vexations
2 episodes with Vexations
3 episodes with Vexations
2 episodes with Vexations
2 episodes with Vexations
8 episodes with Vexations
2 episodes with Vexations
2 episodes with Vexations
2 episodes with Vexations
Hoera, Satie verjaart vandaag! 159 jaar geleden werd hij geboren en het is dit jaar ook precies 100 jaar geleden dat hij overleed. Een goed moment om eens lekker in zijn wonderlijke wereld te duiken. We horen natuurlijk zijn muziek, maar we horen ook hoe de musici van nu nog steeds door hem geïnspireerd zijn! Doe voordat je gaat luisteren de Satie-mini-quiz: - welke fruitsoort speelt de hoofdrol in een stuk voor piano quatre mains van Satie? - welk stuk gereedschap droeg Satie altij bij zich als hij op pad ging? - hoe vaak moet de pianist de 3 regels van zijn compositie Vexations herhalen? Gedraaid deze aflevering: - Satie - La Nuit - Satie - Gymnopedie 1 (orkestratie van Debussy) - Satie - Trois Morceaux en forme de Poire - Wende - Fleur d'Istanbul - Jef Neve & Teus Nobel - Weekend is On - Erik Voermans & Erik Vloeimans - Bonne nuit, monsieur Satie - Satie - Sarabande 3 (Camerata Contemporary Chamber Orchestra) - Satie - Vaxations
This week Dalanie and Katie talk about the movie Louis van Beethoven. IN THIS EPISODE: Got a confession? Tell us your craziest, most scandalous music school stories here: https://docs.google.com/forms/d/e/1FAIpQLSf83czJGsGsGuMuvTszo9BptqC-uqGoL_BnCSftlBLlqdFIwg/viewform?usp=header Video episodes are now available on YouTube! Subscribe here: https://www.youtube.com/@classicallyblackpodcast PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! Our next Patreon exclusive livestream is on April 28th at 5:30pm PST https://patreon.com/ClassicallyBlackPodcast FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Leading Artist Managers Launch New Mentorship Program https://www.fletcherartists.com/mentorship Florida's Jacksonville University Discontinues Fine Arts Majors https://theviolinchannel.com/floridas-jacksonville-university-discontinues-fine-arts-majors/ Igor Levit to Play Satie's Vexations for 16 Hours Straight https://theviolinchannel.com/igor-levit-to-play-saties-vexations-for-16-hours-straight/ Black Excellence: Raehann Bryce-Davis https://www.raehann.com/ Piece of the Week: Piano Concerto No. 5 “Emperor” - Ludwig van Beethoven https://www.youtube.com/watch?v=q-hn8WH_-3U
As the journals of the American writer Joan Didion (based on conversations with her psychiatrist) are published, writer and journalist Rachel Cooke and Alan Taylor, editor of actor Alan Rickman's diaries, discuss the challenges, responsibilities and ethics of posthumously publishing the diaries of great writers, artists and actors. Acclaimed German pianist Pianist Igor Levit talks about his own challenge - that of performing Erik Satie's pioneering piece Vexations, in a performance at the Multitudes arts festival at London's Southbank Centre. The performance is directed by leading performance artist Marina Abramovic and is expected to last approximately 15 hours, as Levit repeats Satie's one-page score 840 times. And how should great women be memorialised? Cultural critic Stephen Bayley and author and activist Sara Sheridan discuss what a memorial to Queen Elizabeth II might look like, and why, in comparison to their male counterparts, so few women have grand memorials in our towns and cities. Presenter: Kirsty Wark Producer: Mark Crossan
From [ Zen and Inner Peace Vol. One ]By Chan Master Sheng Yen / Narrated by Yingshyan KuAs buddha-nature is within all beings, this book expounds the meaning of “Life is Chan, and Chan is Life.” Everyone can benefit by applying Chan wisdom and compassion in daily life, regardless of the complexity of their lives, their environments and interpersonal relationships, along with the associated stresses and conflicts.
We are back at it again with the light novels in this third episode of AGBC Part V: The Reading Experience. This time, we're reading The Vexations of a Shut-In Vampire Princess, the story of a hikkikomori-NEET vampire who is forced to get a job. Topics include 6/10 anime adaptations, Type-Moon nonsense, and the key to success in life. Post in the Discord or pop off in the comments below on anything and everything AGBC and maybe we’ll talk about it on the next episode. Runtime: 45 minutes Direct Download RSS Feed iTunes Spotify Stitcher Google Music Send us Feedback! Support us on Patreon! Join our Discord server! More episodes
Editors' Picks:Rich: Becket Adams's piece “Inanimate Object Commits Heinous Crime”Charlie: Matt Continetti's magazine piece “Up from Kookery”Jim: Noah's post “Yes, You Did”Noah: Yuval Levin's post “Republicans Would Be Wise to Pursue Just One Reconciliation Bill”Light Items:Rich: Shakespeare's Henry IV and Henry VCharlie: Madden NFLJim: Snow dayNoah: Kids' basketball seasonSponsor:Made InThis podcast was edited by Sarah Colleen Schutte.
BEGONE, FOUL DEMON!! NO LONGER SHALL YOU BEDEVIL THE INSOMNIACS OF THE MIDNIGHT MASSES (Apologies for the caps lock, but Satan doesn't respect lowercase.) What's the difference between a demonic vexation, an infestation, and an oppression? How many demons do you have to host to become Legion? And is the Pope really on Twitter? Join the boys for a deep-dive into hellfire and brimstone in this examination of the disturbing history of exorcism and demonic possession. ~ Join the MFFI community and vote on episode topics via DISCORD ~ In this episode: Ancient exorcisms in Babylon Demonic possession in the Bible Relevant Biblical passages Jesus, demons, and exorcisms Judas Mark 5: My name is Legion The Pope on Twitter Official Exorcist of Indiana, Father Vincent Lambert Demonic entry points and doorways Sexual abuse and demonic possession The International Association of Exorcists Infestations, Vexations, Obssessions, and Subjections The Exorcist, the movie Peter Blatty, Linda Blair, Roland Doe/Robbie Mannheim Cultural impact of the film Discernment Qualifications to receive an exorcism The ritual itself Notable cases of possession Jason Dalton and the Uber Demon The Tanacu exorcism ~ Join the Midnight Masses! Become an Insomniac by dropping a review, adding us on social media, and contacting us with episode ideas. And we now have Midnight Merch! Show your Insomniac pride and pick up a tee shirt or coffee mug to spread the word! Midnight Merch ~ Leave an Audio Message! ~ Instagram ~ Shane's Comedy Schedule and Info ~ Podcast Website ~ Episode Transcript ~ KNOWLEDGE IS POWER, AND SLEEP IS OVERRATED ~
A Valentine's Quad Crash, Super Bowl Shenanigans, and More on The Outcast Podcast Welcome back, dear listeners, to another uproarious episode of The Outcast Podcast, where our trio of comedic diversity - a black guy, a brown guy, and a white guy - turn the airwaves into a riot of laughter and insight. This week, we’re diving headfirst into a potpourri of topics that are as varied as our own backgrounds. Buckle up; it’s going to be a wild ride! Valentine’s Day Vibes and Vexations First up, we're dissecting Valentine's Day and its true meaning. Is it a genuine celebration of love, or just another day for the greeting card industry to cash in? Our takes might surprise you – or at least make you laugh until your sides hurt. Tomkat’s Quad Conundrum Next, we can’t help but spill the beans on Tomkat’s latest escapade. Imagine this: Tomkat crashes the quad. Yes, you heard it right. It’s not every day you hear about a podcast co-host turning a peaceful quad into a scene straight out of a sitcom. We've got the inside scoop, and trust us, it's hilariously epic. Super Bowl Madness Moving on, the Super Bowl has just wrapped up, and guess what? TK won the bet! But that’s not all. Taylor Swift somehow managed to have Kanye West kicked out of... somewhere. We’re still piecing together the details, but let’s just say this episode’s gossip segment is juicier than a halftime show wardrobe malfunction. The Black National Anthem Controversy In more serious discourse, we delve into the debate surrounding the Black National Anthem. It's a conversation that’s as important as it is complex, and we’re here to unpack it all, one joke at a time. To Tackle or Not to Tackle Should kids be barred from playing tackle football? It’s a question that’s sparking a lot of debates, and we’ve got opinions. Lots of them. Spoiler alert: not all of them are serious. “We Are the World” - A Look Back In a nostalgic nod, we're talking about the release of the “We Are the World” album documentary. Get ready for a trip down memory lane, complete with bad impressions of 80s icons and possibly even worse singing. Tomkat’s Not-So-Great News Segment And, of course, it wouldn’t be an episode of The Outcast Podcast without Tomkat’s Not-So-Great News Segment. It’s exactly what it sounds like, and somehow, it’s become a fan favorite. Go figure. Gratitude and Groveling Before we wrap up, a huge thank you to all of you for tuning in, laughing with (and at) us, and making this podcast a part of your day. Your support means the world to us - yes, even more than the "We Are the World" album. Don’t forget to like, subscribe, and hit that notification bell on our YouTube channel. Your engagement keeps us going and, frankly, keeps the lights on. Until next time, this has been The Outcast Podcast, where diversity meets hilarity, and anything is fair game. Stay outlandish, stay tuned, and, most importantly, stay outcast.
¡La temporada de Otoño de anime 2023 terminó! Hablemos de: -The Yuzuki Family's Four Sons-Helck-16bit Sensation: Another Layer-Stardust Telepath-OVERTAKE!-The Vexations of a Shut-In Vampire Princess -Ao no Orchestra Tambien tenemos noticias importantes del proyecto animu para llevar al final del podcast Si eres un fan del anime, ¡no te pierdas la temporada de otoño de 2023!
00:00:00 - Describe that Anime Character Badly 00:29:30 - Dark Gathering Ep1-15 00:36:03 - Zom 100: Bucketlist of the Dead Ep4-9 00:40:00 - Fire Force 1-19 00:42:00 - Dr. Stone S2P2E1 00:47:38 - Dead Mount Death Play S1E1 00:51:14 - The Vexations of a Shut In Vampire Princess Ep1-2 00:54:07 - Girlfriend, Girlfriend S2E1 00:59:48 - SHY Ep1 01:01:06 - Undead Murder Farce Ep 1 01:04:42 - Undead Unluck Ep 1 01:07:42 - I'm in Love with the Villianess Ep 1-3 01:10:25 - Frieren: Beyond Journey's End Ep 1-5 01:14:43 - Jujutsu Kaisen S2E5-13
We're back with another episode of Talk the Keki! Join Mat as he's joined by special guest, Starman! Ethan will also be making a quick appearance before he goes on his next adventure. They'll be talking about some news along with from show reviews such as Girlfriend Girlfriend, Kingdom of Ruin, Spy x Family, Tokyo Revengers, Vexations of a Shut-in Vampire Princess, Eminence in Shadow, and much more!About the Chairshot Radio NetworkLaunched in 2017, the Chairshot Radio Network presents you with the best in sports, entertainment, and sports entertainment. Wrestling and wrestling crossover podcasts + the most interesting content + the most engaging hosts = the most entertaining podcasts you'll find!Featuring shows such as POD is WAR (sports, entertainment & sports entertainment) Bandwagon Nerds (entertainment & popular culture), The DWI Podcast (Drunk Wrestling Intellect), The Greg DeMarco Show (wrestling), The #Miranda Show (wrestling and entertainment), Hockey Talk (sports), Patrick O'Dowd's 5×5 (pop culture), The Outsider's Edge (wrestling), Down The Wire (Sports), Talk The Keki (Anime), The Mindless Wrestling Podcast, Attitude Of Aggression/The Big Four (wrestling), and more!The Chairshot Radio NetworkYour home for the hardest hitting podcasts and radio shows!All Shows On DemandListen on your favorite platform!iTunes | iHeart Radio | Google Play | SpotifyListen, like, subscribe, and share!Support this podcast at — https://redcircle.com/chairshot-radio-network/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
De vampiras huevonas, Fuli-Culi, Telépatas y jefes tontos, así va este programa de Otoño ya en su recta final… ¡acompáñennos! () - The Vexations of a Shut-In Vampire Princess () - FLCL: Grunge () - Stardust Telepath () - My New Boss Is Goofy Mesa: Gabrielle, y Natalia López Síguenos en Twitter, Facebook, YouTube y Twitch, La Covacha Anime Fecha Grabación: Lunes 18 de diciembre, 2023 Suscríbete en tu servicio favorito de Podcast. Si es posible ayúdanos calificándonos en Spotify y Apple. Spotify, Apple, Amazon, Google, Anchor Playlist Episodios en Spotify
- Timestamps - 0:00 Intro 2:37 Blue Eye Samurai 19:49 Manga Love Story 26:38 Bullbuster 31:03 Akuma-kun 41:29 My Sweet Tyrant 51:04 The Vexations of a Shut-In Vampire Princess 58:29 Godzilla Minus One 1:23:55 Higurashi no Nako Koro Ni 1:40:46 A Playthrough of a Certain Dude's VRMMO Life 1:52:21 Onmyouji 2:04:53 The First Slam Dunk 2:24:40 Heavenly Delusion
It's that time again when we have more Talk the Keki! Mat will be joined by Chris once again due to Ethan being away on another trip, but thankfully they are making sure you get your content for the week. Mat talks about the next show he dropped and added while reviewing FLCL: Shoegaze. Chris will be talking about what he's been watching as well, like Tearmoon Kingdom and Undead Unluck. They also discuss the latest controversy of I'm in Love with the Villainess and review more shows like Eminence in Shadow, Forbidden Deductions, Vexations of a Shut-in Vampire Princess, and more!About the Chairshot Radio NetworkLaunched in 2017, the Chairshot Radio Network presents you with the best in sports, entertainment, and sports entertainment. Wrestling and wrestling crossover podcasts + the most interesting content + the most engaging hosts = the most entertaining podcasts you'll find!Featuring shows such as POD is WAR (sports, entertainment & sports entertainment) Bandwagon Nerds (entertainment & popular culture), The DWI Podcast (Drunk Wrestling Intellect), The Greg DeMarco Show (wrestling), The #Miranda Show (wrestling and entertainment), Hockey Talk (sports), Patrick O'Dowd's 5×5 (pop culture), The Outsider's Edge (wrestling), Down The Wire (Sports), Talk The Keki (Anime), The Mindless Wrestling Podcast, Attitude Of Aggression/The Big Four (wrestling), and more!The Chairshot Radio NetworkYour home for the hardest hitting podcasts and radio shows!All Shows On DemandListen on your favorite platform!iTunes | iHeart Radio | Google Play | SpotifyListen, like, subscribe, and share!Support this podcast at — https://redcircle.com/chairshot-radio-network/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
We are about 75% done with the Fall season as Talk the Keki marches on! Mat will be joined by Chris as Ethan will officially make his return next week! They'll talk about news such as the announcement of the Danadan anime series. They'll also be covering reviews such as Vexations of a Shut-in Vampire Princess, Rurouni Kenshin, Rise of the Shield Hero, Jujitsu Kaisen, Stardust Telepath, and much more!You can also watch this episode on video via the W2M Network Youtube channel: https://youtube.com/live/3zFaq3EoVjw- Plugs -Join the Talk the Keki Facebook Group: https://www.facebook.com/groups/142522306447354Ethan Twitter: https://twitter.com/shostoppa24Mat Twitter: https://twitter.com/DamienPhoenix12Join us on Discord: https://discord.gg/aydMgvUN9dVisit Our Website: https://w2mnet.com/Follow Us on Twitter: https://twitter.com/w2mnetworkFollow Us on TikTok: https://www.tiktok.com/@w2mnetwork2Follow Us on Instagram: https://www.instagram.com/w2mnetwork/Follow us on Twitch: https://www.twitch.tv/w2mnetwork
We're back with another episode of Talk the Keki! Join Mat as he's joined by special guest, Starman! Ethan will also be making a quick appearance before he goes on his next adventure. They'll be talking about some news along with from show reviews such as Girlfriend Girlfriend, Kingdom of Ruin, Spy x Family, Tokyo Revengers, Vexations of a Shut-in Vampire Princess, Eminence in Shadow, and much more!You can also watch this episode on video via the W2M Network Youtube channel: https://youtube.com/live/S-oiSuC0Mlk- Plugs -Join the Talk the Keki Facebook Group: https://www.facebook.com/groups/142522306447354Ethan Twitter: https://twitter.com/shostoppa24Mat Twitter: https://twitter.com/DamienPhoenix12Join us on Discord: https://discord.gg/aydMgvUN9dVisit Our Website: https://w2mnet.com/Follow Us on Twitter: https://twitter.com/w2mnetworkFollow Us on TikTok: https://www.tiktok.com/@w2mnetwork2Follow Us on Instagram: https://www.instagram.com/w2mnetwork/Follow us on Twitch: https://www.twitch.tv/w2mnetwork
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.
¡La temporada de Otoño de anime 2023 ha Iniciado!-I'm Giving the Disgraced Noble Lady I Rescued a Crash Course in Naughtiness (Ikenakyo)-The Apothecary Diaries (El diario de la Boticaria)-Protocol: Rain-OVERTAKE!-The Vexations of a Shut-In Vampire PrincessSi eres un fan del anime, ¡no te pierdas la temporada de verano de 2023!
Die Herbst-Season schließt mit vielen Highlights und einer großen Abwechslung an Titeln das Jahr 2023 ab. Jujutsu Kaisen Staffel 2 nähert sich seinem Höhepunkt, Spy x Family kehrt mit seiner 2. Staffel zurück und die fehlenden Hälften der Split-Cours von Ancient Magus Bride und Dr. Stone sind endlich da. Lukas hat für sich diese Season einige interessante Titel gefunden: die sonderbare Stimmung aus Migi & Dali scheint Lukas besonders in dieser Jahreszeit zu gefallen und mit dem tollen Charakterdrama Firefighter Daigo versucht er vielleicht ein wenig Symptombekämpfung für seine Hottakes zu betreiben. Julian hingegen ist sehr positiv überrascht von The Vexations of a Shut-In Vampire Princess und der Animationsqualität von Shangri-La Frontier. Girlfriend, Girlfriend wird von 100 Girlfriends dieses Season um ein Vielfaches übertrumpft und Undead Unluck wird seinem Namen gerecht und hat das Pech, von Disney lizenziert worden zu sein. Das große Highlight ist aber der Fantasy-Anime Frieren - Nach dem Ende der Reise. Wenn man die Eckpunkte betrachtet, der Regisseur von Bocchi The Rock, Evan Call als Komponist, ein Opening Song von Yoasobi, vier Episoden am Start auf einmal und dann sogar noch weitere 24 Episoden durchgehend danach, kann man nur von einer Traumadaption von dem ohnehin schon sehr gutem Ausgangsmaterial sprechen. Und in The Eminence in Shadow sollen wir laufen, wenn uns unser Leben lieb ist. Die Raserei hat begonnen. Der Mond ist rot. Uns bleibt keine Zeit mehr.
Episode Timestamps[00:03:25] Main Discussion Topic Start[00:03:42] Summer 2023 Seasonal Bet Results!!![00:05:31] A Broad Vibe Check For Fall 2023 Seasonals[00:08:12] Quick Honorable Mentions (Shows We Won't Be Covering in Detail)[00:08:48] Spy x Family S2 Part 2[00:09:38] Goblin Slayer S2[00:10:19] Shield Hero S3[00:13:12] Tokyo Revengers S3[00:16:56] After-School Hanoko-kun[00:18:47] Shows We Might Cover in a Future Reading/Watching Section[00:19:22] Fall 2023 Anime Seasonals: Sequel[00:19:30] The Eminence in Shadow S2[00:23:31] The Ancient Magus' Bride S2 Part 2[00:28:23] Girlfriend, Girlfriend S2[00:33:03] The Saint's Magic Power is Omnipotent S2[00:35:21] Pluto[00:57:03] Fall 2023 Anime Seasonals: New Shows[00:57:18] Undead Unluck[01:11:30] 100 Girlfriends[01:18:10] Tearmoon Empire[01:24:33] The Apothecary Diaries[01:32:05] The Vexations of a Shut-In Vampire Princess[01:39:50] Frieren: Beyond Journey's End[01:45:22] Overtake![01:54:11] Ron Kamonohashi's Forbidden Deductions[02:00:21] My New Boss is Goofy[02:05:38] I'm in Love with the Villainess[02:07:56] Shangri-La Frontier[02:22:42] The GAP Bros' Fall 2023 Seasonal Bet Picks Revealed!------------------------------------------You could always reach us through email (gapalette@gmail.com), Twitter (@PaletteGood), or through our Facebook page (https://www.facebook.com/PaletteGood).You can also visit our website (www.goodanimepalette.com).You can also join us on Discord (Click Here for the Discord Invite!) or our MAL club (https://myanimelist.net/clubs.php?cid=81877).See you next episode!------------------------------------------Music CreditsIntro: Never or Right Now by ELFLBreak: Not Gonna Wake Up (Instrumental Version) by MindmeOutro: Like the Ocean by The Big Let DownAll music used is courtesy of Epidemic Sound (www.epidemicsound.com). If you are interested in using their service, here is a referral link to their platform (Click Here!).
This anime season was so big, we had to cover the premieres in two shows! Jacki, Lynzee, and James discuss 100 Girlfriends, The Vexations of the Shut-In Vampire Princess, Tearmoon Empire, Spy x Family Season 2, PreCure, Undead Unluck, Kingdoms of Ruin, and Eminence in Shadow Season 2!
202 - Welcome, welcome! We're back with more first episodes. This episode we're a bit faster and we cover the following: "The 100 Girlfriends Who Reall, Really, Really, Really, REALLY Love You", "Butareba - The Story of a Man Turned into a Pig", "KamiErabi GOD.app", "MF Ghost", Migi & Dali", "My New Boss is Goofy", "A Playthrough of a Certain Dude's VRMMO Life", "Power of Hope - Precure Full Bloom", "A Returner's Magic Should Be Special", "Stardust Telepath", "Tearmoon Empire", "Undead Unluck", "The Vexations of a Shut-in Vampire Princess" and "The Yuzuki Family's Four Sons". --- Support this podcast: https://podcasters.spotify.com/pod/show/lets-anime/support
It's that time again when we have more Talk the Keki! Mat will be joined by Chris once again due to Ethan being away on another trip, but thankfully they are making sure you get your content for the week. Mat talks about the next show he dropped and added while reviewing FLCL: Shoegaze. Chris will be talking about what he's been watching as well, like Tearmoon Kingdom and Undead Unluck. They also discuss the latest controversy of I'm in Love with the Villainess and review more shows like Eminence in Shadow, Forbidden Deductions, Vexations of a Shut-in Vampire Princess, and more!You can also watch this episode on video via the W2M Network Youtube channel: https://youtube.com/live/wUqVPmPwS6Q- Plugs -Join the Talk the Keki Facebook Group: https://www.facebook.com/groups/142522306447354Ethan Twitter: https://twitter.com/shostoppa24Mat Twitter: https://twitter.com/DamienPhoenix12Join us on Discord: https://discord.gg/aydMgvUN9dVisit Our Website: https://w2mnet.com/Follow Us on Twitter: https://twitter.com/w2mnetworkFollow Us on TikTok: https://www.tiktok.com/@w2mnetwork2Follow Us on Instagram: https://www.instagram.com/w2mnetwork/Follow us on Twitch: https://www.twitch.tv/w2mnetwork
In May of 2010, Jack Straw presented a performance by a rotating cast of 30 pianists, playing through Erik Satie's infamous “Vexations” theme 840 times, as suggested by the composer's vexatiously enigmatic note on the original manuscript. The performance started at 4:00pm on Saturday, May 15th, and ended the following day at 11:20am, after the […] The post Roger Nelson – Vexations appeared first on Jack Straw Cultural Center.
In his long career as a scholar and conductor, Joshua Rifkin has done a lot: arranged for Judy Collins, performed in the first-ever marathon of "Vexations," helped lead the ragtime revival and, perhaps most importantly, totally upended the conventional wisdom about Bach's choral music. This is a conversation about all of that, and more: rich, insightful, and scandalous stories about one of the most fascinating lives a music scholar can lead. (Including: getting tipsy with John Cage, playing in a jug band, and fighting an entire generation of Bach scholars.)Joshua Rifkin is an acclaimed conductor and scholar.Show notes and more over at soundexpertise.org!Questions? Thoughts? Email soundexpertise00@gmail.com or tag Will on Instagram/Twitter @seatedovation
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
Personal Vexings: 1. Social dilemma (Older White Males, Young Black men) 2. Expectations of unbelievers 3. Class Systems 4. Sexual Distortion: A symptom of "The Love of Money" (1 Timothy 6:10) Ezekiel 16:49-50 (NIV) 49 “‘Now this was the sin of your sister Sodom: She and her daughters were arrogant, overfed and unconcerned; they did not help the poor and needy. 50 They were haughty and did detestable things before me. Therefore I did away with them as you have seen. 5. Extreme Debt vs. being Poor also a symptom of "The Love of Money"
Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSSSatie's Vexations… was Meredith Monk there at the 1963 complete performance? Did she stay there long enough to get the show for free?You never really need an excuse for introducing the Ursonate of Kurt Schwitters into the conversation, but could Monk's vocalising style have anything to do with this?DJ Shadow's 1996 track Midnight in a perfect world is one of the better known uses of a Meredith Monk sampleDeath will come for all of us, sooner or later, but if it speaks to me like this, I might have a hard time resisting…Here's a later interview...and a recent Guardian articleTom also mentions this in the Podcast.Subscribe to Gas Giants This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com
聖嚴法師108自在語— 煩惱即菩提，並不是說沒有煩惱，而是雖然有煩惱，但是你不以它為煩惱。 Vexation is bodhi, but that doesn't mean there is no vexation. Vexations exist, but don't see them as vexations. 煩悩即菩提。煩悩があるからこそ悟りを得ようとするのであって、煩悩と菩提に区別などない。煩悩を離れて菩提は得られない。また逆に菩提なくして煩悩から離れることはない。 번뇌는 즉 보리이다, 이는 번뇌가 없다는 것이 아니다, 비록 번뇌는 있으나, 이를 번뇌로 여기지 않는 것이다.
VEXATIONS ET HYPNOSE? HYPNOSE DCS UNIQUE AU MONDEtéléchargez l'audio DCS: NON PASSE NEGATIFhttps://claudiosaracino.com/prodotto/...
Caitlin Horrocks discusses her story "On the Oregon Trail" from her short story collection, Life Among the Terranauts. The story is available and should be read before listening to the podcast at www.kellyfordon.com/blog. Caitlin Horrocks is the author of the story collections Life Among the Terranauts and This Is Not Your City, both New York Times Book Review Editor's Choice selections. Her novel The Vexations was named one of the Ten Best Books of 2019 by the Wall Street Journal. Her stories and essays appear in The New Yorker, The Best American Short Stories, The PEN/O. Henry Prize Stories, The Pushcart Prize, The Paris Review, Tin House, and One Story, as well as other journals and anthologies. Her awards include the Plimpton Prize and fellowships to the Bread Loaf Writers' Conference, the Sewanee Writers' Conference, and the MacDowell Colony. She is on the advisory board of The Kenyon Review, where she formerly served as fiction editor. She teaches at Grand Valley State University and in the MFA Program for Writers at Warren Wilson College. She lives in Grand Rapids, Michigan, with the writer W. Todd Kaneko and their noisy kids. Kelly Fordon (podcast host) Kelly Fordon's latest short story collection I Have the Answer (Wayne State University Press, 2020) was chosen as a Midwest Book Award Finalist and an Eric Hoffer Finalist. Her 2016 Michigan Notable Book, Garden for the Blind, (WSUP), was an INDIEFAB Finalist, a Midwest Book Award Finalist, Eric Hoffer Finalist, and an IPPY Awards Bronze Medalist. Her first full-length poetry collection, Goodbye Toothless House, (Kattywompus Press, 2019) was an Eyelands International Prize Finalist and an Eric Hoffer Finalist and was adapted into a play, written by Robin Martin, which was published in The Kenyon Review Online. She is the author of three award-winning poetry chapbooks and has received a Best of the Net Award and Pushcart Prize nominations in three different genres. She teaches at Springfed Arts and The InsideOut Literary Arts Project in Detroit, as well as online, where she also runs a monthly poetry and fiction blog. www.kellyfordon.com This is the first "Let's Deconstruct a Story" podcast offered in collaboration with the Grosse Pointe Public Library in Michigan. The GPPL has committed to purchasing ten books by each author this season to give to their patrons! If you are a short story writer who has tried to make money in this game then you know what a big deal this is! My hope is that other libraries will follow the GPPL's lead and be inspired to buy books by these talented short story writers. I will be contacting many libraries this year to suggest this programming. Please feel free to do the same if you enjoy this podcast.
Saving Elephants | Millennials defending & expressing conservative values
How secure and reliable are elections in the United States? The Left and Right are both replete with voices warning of the dire consequences of the “other side” getting their way. And nowhere is this more evident than with concerns about the legitimacy of elections. Whether it's the Right's concerns with voter fraud and election theft or the Left's apprehensions about voter suppression and disenfranchisement, Americans are growing increasingly concerned that their votes don't, or won't, or eventually will not count. What's more, the leaders of each party, Donald Trump and Joe Biden, have used increasingly alarmist language in claiming our democratic institutions have been undermined. Trump continues to assert that the 2020 election was “stolen” and that it was a “fraud on the American people”. Meanwhile, Biden has warned that those who do not share his views on election reform are interested in instituting “Jim Crow 2.0” and that they are akin to the likes of George Wallace, Bull Connor, and Jefferson Davis. In this episode Saving Elephants host Josh Lewis takes a deep dive into the various allegations made by Trump and Biden and offers some thoughts on whether Americans can have faith in their democratic institutions.
Snails can take their shells off, right?
Caitlin Horrocks is author of the story collections Life Among the Terranauts and This Is Not Your City, both New York Times Book Review Editor's Choice selections. Her novel The Vexations was named one of the Ten Best Books of 2019 by the Wall Street Journal. Her stories and essays appear in The New Yorker, The Best American Short Stories, The PEN/O. Henry Prize Stories, The Pushcart Prize, The Paris Review, Tin House, and One Story, as well as other journals and anthologies. Her awards include the Plimpton Prize and fellowships to the Bread Loaf Writers' Conference, the Sewanee Writers' Conference and the MacDowell Colony. She is on the advisory board of the Kenyon Review, where she formerly served as fiction editor. She teaches at Grand Valley State University and in the MFA Program for Writers at Warren Wilson College. She lives in Grand Rapids, Michigan, with the writer W. Todd Kaneko and their noisy kids.To learn more go to Caitlin's website.Follow on Instagram - @fiveauthorquestions Follow on Twitter - @5AQpodEmail 5AQ - podcasts@kpl.gov 5AQ is produced by Jarrod Wilson. The technical producer is Brian Bankston. 5AQ is hosted by Sandra Farag and Kevin King
La pianiste et compositrice belge Grazyna Bienkowski et le musicien Alain Lefebvre d'Off-Record sont les invités de Fabrice Grosfilley dans Toujours + d'Actu, ce lundi 27 septembre, pour évoquer le projet "Vexations" avec Erik Satie.
La pianiste et compositrice belge Grazyna Bienkowski et le musicien Alain Lefebvre d'Off-Record sont les invités de Fabrice Grosfilley dans Toujours + d'Actu, ce lundi 27 septembre, pour évoquer le projet "Vexations" avec Erik Satie.
Pianist Igor Levit talks to Tom Service about his latest epic recording project – three and a half hours of music by Dmitri Shostakovich and the Scottish composer Ronald Stevenson. No stranger to large-scale works he live-streamed Erik Satie's Vexations during lockdown playing 840 repetitions over 16 hours as part of his online House Concerts. He discusses the huge challenges on every page of Stevenson's Passacaglia and the contradictions of his life as a pianist and his political beliefs. Folk singer Martin Carthy and former High Court judge and part-time song collector Stephen Sedley join Tom to talk about their new book, ‘Who Killed Cock Robin: British Folk Songs of Crime and Punishment', which explores the legal and moral basis of some of the most moving songs in the folk traditions of the country. We hear recordings by Martin Carthy, Shirley Collins, Rachel Newton and a 1953 archive recording of Ewan MacColl singing ‘McCaffery', provided by the School of Scottish Studies Archives. As Russians go to the polls, we look at what the recent decline in freedoms means for artists and musicians in and out of the country. Tom speaks to Masha Alekhina, co-founder of the musical and protest collective Pussy Riot, who has just been sentenced to a year of ‘restricted freedom' for promoting protests in support of the jailed opposition leader, Alexei Navalny. We're also joined by the BBC's Moscow correspondent Sarah Rainsford who was recently expelled from Russia after more than 20 years of reporting from Moscow, and pianist Katya Apekisheva who, alongside hundreds of other classical musicians, signed a letter to Vladimir Putin in February calling for the release of Alexei Navalny. And composer Joseph Horovitz shares stories from his life in music. Having fled Vienna as a child in 1938, he began his musical career in Britain as a music lecturer for the army before working as a ballet conductor and finally a composer. His music draws on a huge range of styles, especially jazz, as can be heard in his Jazz Harpsichord Concerto which was performed by Mahan Esfahani and the Manchester Collective at this year's Proms. He talks to Tom about how his deeply personal fifth string quartet reflects his experiences of escaping Vienna, and how he finds new inspiration every day from the music around him.
Ministered by Prophet Martin Siziba --- Send in a voice message: https://anchor.fm/martin-siziba/message
Business leaders are in uncharted territory when considering how best to protect employees and customers. The legal and ethical implications are dizzying. In this conversation with the Vanguard Network's Ken Banta, Dr. Art Caplan unpacks the nuances from his unique position as a global expert on bioethics. Dr. Caplan is the head of the Division of Ethics at NYU Langone Medical Center, one of the world's leading medical ethicists, and a prolific writer. He has become a prominent voice in the conversation about the ethical issues surrounding COVID vaccination.
★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on: Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion PodBean: https://atpercussion.podbean.com/ Hosts: Ben Charles, Ksenija Komljenović, and Karli Viña Intro music by Reese Maultsby - reesemaultsby.com Watch here Listen below 0:00 Intro and hello 2:45 Today in history: Eric Satie. The "G" pieces. Vexations and mental stamina. 16:40 Some on Minimalism. Prospective and cumulation. 23:14 Getting yourself back into a performance space since we're likely finally getting to live performing 36:25 End of the Season (the 6 year season). Favorites and hits?
A knock at the lead developers' office door, a soft rap on sandalwood inlaid with carvings so intricate it would have caused Michelangelo to weep, and it had. Twice. “Come.” said a voice from inside. Throughout human history, many claimed to have heard that voice: comforting them, guiding them from the depths of their sorry souls, but only a few of them ever truly had. It was the kind of voice that people wrote books about, started wars about, several in fact. It was the voice of Jesus H. Christ: Son of God and Lead Developer. The door opened and in glided a Seraphim, a being of pure light. As it crossed the threshold the Seraphim dimmed respectfully for a few seconds, before flaring back to brilliance. Christ sat reclined in his chair with his feet propped up on the grand African Blackwood desk before him. He gave a short nod in greeting. “My Lord,” came the Seraphims voice, a gender-less timbre which echoed as though it came from the bottom of a deep well. “The miseries division has finished designing the new vexations. We request your permission to begin QA testing.” “Granted,” said Christ who sat up in his chair and leaned over his desk with fingers steepled. Light from the Seraphim and the room passed through the holes in his wrists making twin pinpricks of gold in his hunched shadow. “Thank you, sir,” replied the Seraphim who dimmed a second time before coming back to full brightness. “We need a new soul object to test this batch of vexations on, as you've sent the last one to Live.” Jesus was wrong. Quite wrong, the Jack Allison object was very much on Live meaning that it was very much, a-live. The tests would have an irreversible impact on its reality, but the Seraphim wasn't about to tell the Son of God and Lead Developer that he was wrong. Was it? The truth was that the Seraphims' confidence had been building bit-by-bit, every second since it crossed the threshold and hadn't been reduced to a pile of unmade ash, the fate of the previous project manager. Feeling positively buoyed, quite invincible really, by its continued existence the Seraphim's light flickered rapidly for a quarter of a second, to indicate its intention to speak truths. “Yes?” Jesus, Son of God and Lead Developer affixed his gaze on the Seraphim. “Nothing sir, right away sir,” said the Seraphim, struck with a sudden wave of terrible vincibility and dimness of form that would remain so until it later exited the office. “We'll start our QA testing on the Jack Allison object, immediately sir.” “See to it.” Topics Discussed in Today's episode include: Universal Recap, Bugcon, Starwars and more! Air Date: 06/28/21 - https://www.twitch.tv/videos/1070244946
BEGONE, FOUL DEMON!! NO LONGER SHALL YOU BEDEVIL THE INSOMNIACS OF THE MIDNIGHT MASSES (Apologies for the caps lock, but Satan doesn't respect lowercase.) What's the difference between a demonic vexation, an infestation, and an oppression? How many demons do you have to host to become Legion? And is the Pope really on Twitter? Join the boys for a deep-dive into hellfire and brimstone in this examination of the disturbing history of exorcism and demonic possession. ~ In this episode: Ancient exorcisms in Babylon Demonic possession in the Bible Relevant Biblical passages Jesus, demons, and exorcisms Judas Mark 5: My name is Legion The Pope on Twitter Official Exorcist of Indiana, Father Vincent Lambert Demonic entry points and doorways Sexual abuse and demonic possession The International Association of Exorcists Infestations, Vexations, Obssessions, and Subjections The Exorcist, the movie Peter Blatty, Linda Blair, Roland Doe/Robbie Mannheim Cultural impact of the film Discernment Qualifications to receive an exorcism The ritual itself Notable cases of possession Jason Dalton and the Uber Demon The Tanacu exorcism ~ Join the Midnight Masses! Become an Insomniac by dropping a review, adding us on social media, and contacting us with episode ideas. And we now have Midnight Merch! Show your Insomniac pride and pick up a tee shirt or coffee mug to spread the word! https://midnightbonus.weebly.com/midnight-merch.html ~ CONTACT: Leave an audio message: https://www.podpage.com/midnight-facts-for-insomniacs/voicemail/popup/?from=https://www.podpage.com/midnight-facts-for-insomniacs/ ~ Leave a voicemail or shoot us a text with comments, suggestions, or feedback: +1 (408) 596-4603 ~ Email: mailto:midnightfactsforinsomniacs@gmail.com ~ Instagram: https://www.instagram.com/midnightfactsforinsomniacs/ ~ Discord: https://discord.gg/4KUWbgj4PN ~ Shane's Comedy Schedule and Info: www.shanerogers.net ~ Episode Transcript: https://mcdn.podbean.com/mf/web/mdazyy/Exorcism.pdf ~ Website: www.midnightfactsforinsomniacs.com ~ KNOWLEDGE IS POWER, AND SLEEP IS OVERRATED ~
How can I respond virtuously to the seven command vexations that life often brings? Fr. Scupoli lists seven vexations that we commonly face in this episode, chapter 39: Being reprimanded severely for a good action. Being spoken badly about by others Refused a small favour in a harsh manner Unjustly suspected Engaged in a disagreeable/annoying activity Having a meal ruined Overwhelmed with illness or some greater evil These evils can be combined. There can be greater ones. But the crucial question is our response. What Fr. Scupoli explains tonight is how we can respond differently depending on which VIRTUE (patience or humility or obedience or poverty or charity) that we are trying to work on. Previously, in chapter 38, Fr. Scupoli gave us the background reasons for why such vexations or trials should be welcomed and patiently accepted with perfect compliance. Our wills have a great chance to choose the good! God's Providence permitted this in his Fatherly love for us. They help us undermine our innate pride. They give us a chance to conform our will to God's will.
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In another album deep dive, we discuss Wish You Were Here, Kirk's favorite Pink Floyd album. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). Show notes: Wish You Were Here (Wikipedia) (https://en.wikipedia.org/wiki/Wish_You_Were_Here_(Pink_Floyd_album)) Wish You Were Here review (Rolling Stone) (https://www.rollingstone.com/music/music-album-reviews/wish-you-were-here-3-96417/) Episode #58 – David Weigel on the History of Progressive Rock (https://www.thenexttrack.com/61) Episode #97 - Jerry Ewing on Progressive Rock (https://www.thenexttrack.com/100) Shine on You Crazy Diamond (Wembley, 1974) (https://music.apple.com/us/album/shine-on-you-crazy-diamond-pts-1-6-live-at-wembley/1519133925) Raving and Drooling (Wembley, 1974) (https://music.apple.com/us/album/shine-on-you-crazy-diamond-pts-1-6-live-at-wembley/1519133925) Pink Floyd - Live - Wembley , Empire Pool, London, November 16 , 1974 (YouTube) (https://www.youtube.com/watch?v=yFdFthdV6to) Igor Levit on playing Satie's Vexations (https://www.nytimes.com/2020/05/31/arts/music/igor-levit-vexations.html) Igor Levit (Wikipedia) (https://en.wikipedia.org/wiki/Igor_Levit) Our next tracks: Beethoven: Late piano sonatas, Igor Levit (https://amzn.to/2Pln1AK) Savoy Brown: Getting to the Point (https://amzn.to/3bWYJ7R) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.
Es war ein pianistischer Marathon: Im ersten Lockdown im Mai 2020 führte Igor Levit digital das Stück "Vexations" von Erik Satie auf. Der Erlös aus dem Verkauf der Notenblätter soll nun Musiker in der Pandemie unterstützen. Gleichzeitig erhebt er Vorwürfe gegen die Politik.
Michelle and Jacques look at the political controversy over the pace of COVID-19 vaccinations as well as plans for a review of the Official Languages Act and a court filing on abortion access.
Skuespiller Iselin Shumba, er dramatisk av natur. Da det nye tiåret skulle spilles inn i Wien første nyttårsdag, håpet hun på Skjebnesymfonien. Lite visste hun, hva 2020 skulle bringe. Hosted on Acast. See acast.com/privacy for more information.
durée : 01:58:55 - Relax ! du jeudi 26 novembre 2020 - par : Lionel Esparza - Portrait d'une année en musique, avec une sélection d'œuvres que parfois tout oppose esthétiquement, et pourtant parfaitement contemporaines : de la "Symphonie de Nouveau Monde" de Dvorak à "Falstaff" de Verdi, en passant par les "Vexations" d'Erik Satie et la Suite "Karelia" de Sibelius... - réalisé par : Antoine Courtin
#2470: Sep. 18, 2020: Make it truly sanctuary from the vexations of the outer world Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : ) Create music every day for Piano Ten Thousand Leaves. Target number is 4536 and 2470(54.2%) achieved today. Find my project.. : ) #my home page renewal.. : ) currently super simple https://www.chairhouse.club/ #DAW SOFT(Cubase) Piano Roll video for recent three pieces. (sorry Japanese only) but you can see pianorolls. https://youtu.be/Rs0YwWEv1xk #new Full Music Video (2 hours, 50 pieces): I created new music video with forest environmental sounds and uploaded to Youtube. 50 my piano music and 2 hours calm piano music video. Music from 14th, 13th and 12th selection album of piano ten thousand leaves. I believe it's very good for your sleep, consentration and life environment.. : ) Happy if you enjoy it. https://youtu.be/7pHbEMLvdVM I think this type video, which contains 2 hours music and environmental sound and beautiful motion picture, is best media for my activities. Best videos for your relax, gentleness, hapiness, sleep, and concentration.. : ) Preor Full Music Video with ocean waves is also available: https://youtu.be/v58rU0I23zw
Lighting manufacturing has changed dramatically over the past 50 years. The guys talk about the danger of manufacturers turning their fixed costs into variable costs, and how it could impact you.
Caitlin Horrocks is author of the novel The Vexations, named one of the Ten Best Books of 2019 by the Wall Street Journal. Her story collection This Is Not Your City was a New York Times Book Review Editor’s Choice and a Barnes and Noble Discover Great New Writers selection. Another story collection, Life Among the Terranauts, is forthcoming from Little, Brown in 2021. Her stories and essays appear in The New Yorker, The Best American Short Stories, The PEN/O. Henry Prize Stories, The Pushcart Prize, The Paris Review, Tin House, and One Story, as well as other journals and anthologies. Her awards include the Plimpton Prize and fellowships to the Bread Loaf Writers’ Conference, the Sewanee Writers’ Conference and the MacDowell Colony. She is on the advisory board of the Kenyon Review, where she recently served as fiction editor. She teaches at Grand Valley State University and in the MFA Program for Writers at Warren Wilson College. She lives in Grand Rapids, Michigan, with her family. http://caitlinhorrocks.com/about/ --- Support this podcast: https://anchor.fm/dallas-woodburn/support
Igor Levit, as the New Yorker put it, "Is Like No Other Pianist". This week we chatted to the German-Russian superstar about playing for 15 hours straight, why he staged 50 concerts from his living room, and Germany's ongoing struggle against systemic racism. We're also talking about France's "green wave" and Romania's very expensive super-church. Thanks for listening! If you like the show, you can chip in a few dollars a month to help us keep running at patreon.com/europeanspodcast. Follow Igor on Twitter and Instagram and watch his epic performance of Erik Satie's Vexations here: https://www.youtube.com/watch?v=Uu_03mUPgHU Eurovision Song Contest - The Story of Fire Saga: https://www.netflix.com/title/80244088 The Fog of Srebrenica: https://vimeo.com/ondemand/thefogofsrebrenica Twitter | Instagram | Facebook | hello@europeanspodcast.com
Hunderttausende haben die Wohnzimmerkonzerte, die Igor Levit während der Corona-Quarantäne gespielt hat, gesehen. Jetzt hat der Musiker ein echtes Marathonkonzert gespielt - mit Erik Satie's 20-stündigem Werk "Vexations". Kai Luehrs-Kaiser hat das Mammutkonzert für uns am Bildschirm verfolgt.
Salut à toutes et à tous, Pour ce 20ème épisode, j'ai le plaisir de recevoir Babet, violoniste au sein du groupe Dionysos, chanteuse et multi instrumentiste. Nous évoquons les débuts du groupe, ses projets solos et nous faisons un point d'étape sur le futur de la tournée et son 3ème album; bien sûr, sujets à une évolution favorable des restrictions sanitaires actuelles... Au programme, quelques anecdotes; son 1er concert, LE secret pour reprendre Rid of me... et plein d'autres.... Vous pouvez retrouver la sélection de Babet ci-dessous : 1960 : The Beatles - Revolver (1966) extrait : Good Day, Sunshine 1970 : Serge Gainsbourg - Melody Nelson (1971) extrait : Melody 1980 : Bangles - Eternal Flame (1988) 1990 : PJ Harvey - 4 Track Demos (1993) extrait : 50ft Queenie 1990 : dEUS - In a bar under the sea (1996) extrait : Little arithmetics 2000 : Arcade fire - Cold Wind 2000 : Ratatat - Ratatat (2004) extrait : 17 years 2010 : Get well soon - Vexations (2010) extrait : Nausea 2010 : Lana del Rey - Video Games (2012) 2010 : Gill Scott-Heron - I'm new here (2010) extrait : On coming from a broken home Episode enregistré le 22 mai 2020 en ligne Vous pouvez suivre Babet sur : Facebook : www.facebook.com/babetmusic/ et www.facebook.com/babou.calou Instagram : www.instagram.com/babetdionysos Youtube : Babet et Playlist de reprises en confinement Retrouvez l'actualité de Dionysos sur dionyweb.com notamment les dates de concert de l'automne prochain le 24/01/2021 à la Cigale et le 24/09/2021 au Zénith de Paris Les liens vidéo : Dionysos en concert et Tube à l'essai - Dionysos / Song for a Jedi Extraits audios : Rid of me de PJ Harvey, Reprise par Dionysos (Dionysos eats music) Underwatersong de Babet extrait de Piano Monstre (2010) N'hésitez pas à laisser des commentaires sur vos applis de podcast et à me retrouver sur Twitter ; @MDAM_pod Générique : "It was 3am I was looking up at the sky" by Springtide (www.springtide.jp)
Caitlin Horrocks is an author and an associate professor at Grand valley State University. They talked about her book, the Vexations. The book is about French composer and pianist Erik Satie. According to Wall Street Journal, the Vexations, is the best book of 2019.
Homme toimub Lennujaama avatud alal omapärane kontsert, kus Arko Narits esitab Eric Satie teose "Vexations".
Homme toimub Lennujaama avatud alal omapärane kontsert, kus Arko Narits esitab Eric Satie teose "Vexations".
Caitlin Horrocks is the author of the novel The Vexations and the short story collection This is Not Your City. She is on the advisory board of the Kenyon Review and teaches fiction at Grand Valley State University and the MFA Program for Writers at Warren Wilson College. Subscribe to First Draft. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this episode I discuss The Gifted School by Bruce Holsinger, Lock Every Door by Riley Sager and other great books!Subscribe to Books are my People using RSS, iTunes, or SpotifyBooks Discussed:The Gifted School by Bruce HolsingerI.M.: a Memoir by Isaac MizrahiTo Night Owl From Dogfish by Holly Goldberg Sloan and Meg WolitzerLock Every Door by Riley SagerThe Vexations by Caitlin HorrockOther things mentioned:I will be teaching a Young Adult Novel Intensive Workshop through UCLA Extension's Writers' Program over two weekends in the fall on the UCLA campus. I will be teaching Young Adult Novel I online through UCLA Extension's Writers' Program in the fall. I will be teaching a workshop on revision and Twitter Pitch Parties in the Los Angeles area on October 5th brought to you by the Children's Book Writers of Los Angeles. I am hosting a giveaway of the novel Marilou is Everywhere by Sarah Elaine Smith. You can enter through my instagram account @jennifercaloyeras. The giveaway ends October 1st. And that's it! Find me on Instagram @jennifercaloyerasTwitter @jencaloyeraswww.jennifercaloyeras.comwww.booksaremypeople.com
Invasions of Liechtenstein and Vexations by Erik Satie
This week, Liberty discusses a few great older books, including Let the Great World Spin. This episode is sponsored by Book Riot Insiders. Subscribe to All the Books! using RSS, Apple Podcasts, Spotify, or Stitcher and never miss a book. Sign up for the weekly New Books! newsletter for even more new book news. Books discussed on the show: The Vexations by Caitlin Horrocks The Good Lord Bird by James McBride Let the Great World Spin by Colum McCann Saint Maizie by Jami Attenberg All This Could Be Yours by Jami Attenberg The Killer Angels by Michael Shaara The Moor's Account by Laila Lalami Fever by Mary Beth Keane Ask Again, Yes by Mary Beth Keane Fallen Beauty by Erika Robuck
Jim Ellermeyer continues his discussion with Podcaster Professor Buzzkill and The Compleat Angler by Izaak Walton. They continue to talk about the vexations in our lives, contemplation and action and more! Subscribe to our Podcast on iTunes, Stitcher, Google Music, TuneIn or look for it on your favorite Podcatcher! Also, check us out streaming on The River's Edge online radio!
Jim Ellermeyer continues his discussion with Podcaster Professor Buzzkill and The Compleat Angler by Izaak Walton. They continue to talk about the vexations in our lives, contemplation and action and more! Subscribe to our Podcast on iTunes, Stitcher, Google Music, TuneIn or look for it on your favorite Podcatcher! Also, check us out streaming on The River's Edge online radio!
Trials and Vexations
Trials and Vexations
Trials and Vexations
Trials and Vexations
Trials and Vexations
Trials and Vexations
It's a bonus episode week! We are happy to bring you our second installment of Vicki's Vexations. We are supplementing our season on empires with a discussion on nations and states. What do we mean when we use these terms? How do they differ? What is the relationship between them? Are all states just states of mind? It's a whacky, geeky day at Political MissAdventures!
30 Minutes spoke with Tucson composer Chris Black and ACLU Attorney Billy Peard about the upcoming Vexations marathon to raise money…
Vexations. What they are and how to avoid them. --- Support this podcast: https://anchor.fm/ioska/support
This week we bring you a bonus mini episode! In this post-script to our series on "Wars that Make You Go, 'What,'" Vicki muses on the role which the norm of sovereignty in Europe may have played in providing us with strange pretexts for war.
Episodio 1 – Segunda temporada Verónica Barbero + Martina Juncadella + Bhutan El texto que se interpretará en este episodio es un fragmento de Crayones, un cuento que está dentro de la antología 40 grados, Narrativa tucumana contemporánea que editó Blatt & Ríos en 2015. El libro: http://blatt-rios.tumblr.com/post/132025778178/aa-vv-40%C2%BA-narrativa-tucumana-contempor%C3%A1nea-2015 Martina Juncadella es actriz, poeta y editora en Socios Fundadores. Filmó dos cortometrajes: Mensajes y Fiora. Trabajó como actriz en películas como Abrir puertas y ventanas. Socios fundadores: https://www.facebook.com/Socios-Fundadores-144038949321872/?fref=ts Bhutan es una banda de ambient/drone/metal conformada en Buenos Aires por tres neuquinos. Tienen dos discos: "Behind dead woods" y "Vexations", ambos editados por el sello Venado Records. https://bhutan.bandcamp.com/releases La obra de portada fue realizada por: Laura Cordoba (Viedma, 1989) artista plástica. Profesora en Artes Visuales en FADU-UNL. Vive en Capital Federal donde produce su trabajo que abarca los lenguajes de la pintura, el dibujo, el collage y las técnicas mixtas https://lauracordoba.com/ https://www.facebook.com/artelaucordoba/ -- Los Cartógrafos es ideado, curado y producido por: Rosario Bléfari, actriz, música y poeta. En los ’90 lideró la banda Suárez. Es solista y también es la cantante de Sué Mon Mont. Nahuel Ugazio es productor audiovisual, comunicador digital y buscavida. Filma y produce en Golondrina Cine. Romina Zanellato es periodista. Trabaja en comunicación digital, prensa y colabora en varios medios. También escribe poesía. Podés seguirnos en: www.facebook.com/LosCartografos www.twitter.com/loscartografos www.loscartografos.tumblr.com/ https://www.instagram.com/loscartografos/ https://itunes.apple.com/us/podcast/los-cartografos/id1023959640?l=es https://open.spotify.com/album/3VarAtra2nGiSZAI3hBixO
One vexation. Two vexations. Three vexations. Four vexations. Five vexations. Six vexations. Seven vexations. Eight vexations. Nine vexations. Ten vexations. Eleven vexations. Twelve vexations. Thirteen vexations. Fourteen vexations. Fifteen vexations. Sixteen vexations. Seventeen vexations. Eighteen vexations. Nineteen vexations. Twenty vexations. Twenty-one vexations. Twenty-two vexations. Twenty-three vexations. Twenty-four vexations. Twenty-five vexations. Twenty-six vexations. Twenty-seven vexations. Twenty-eight vexations. Twenty-nine vexations. Thirty vexations. Thirty-one vexations. Thirty-two vexations. Thirty-three vexations. Thirty-four vexations. Thirty-five vexations. Thirty-six vexations. Thirty-seven vexations. Thirty-eight vexations. Thirty-nine vexations. Forty vexations. Great, only 800 more vexations to go.
The ultimate "underground" modernist artist in Paris, Satie didn't get a lot of credit when he was alive for his work. He was largely forgotten until John Cage found his Vexations composition fifty years after his death. His music "did not resolve as it should according to tonal laws" says our guest Dr. Caroline Potter. She talks with us about how Satie broke from Parisian tradition and led an avant-garde scene which influenced ambient and minimalist artists for years to come. Join us as we traverse the eccentric life and work of Erik Satie. Erik Satie Tracks: Gnossiennes n.4 The Gothic Dances Pieces in the Shape of a Pear Gymnopedies Let's Get on with it Chochoette Medusa's Trap Parade Vexations La Diva de l'empire
Tonsättaren Erik Satie (1866-1925) var banbrytande, men det var först efter sin död som hans idéer verkligen slog igenom. I den här dokumentären vandrar vi i hans fotspår i Paris. Satie föddes i Honfleur, departementet Calvados i regionen Basse-Normandie i nordvästra Frankrike, men flyttade till Paris i 20-årsåldern. Där bodde han först i konstnärskvarteren Montmartre men då han kom på obestånd tvingades han flytta flera kilometer till förorten Arcueil. Det är starten på den vandring i Saties fotspår som kulturjournalisten Mikael Strömberg tar med oss på. Satie ingick i det dadaistiska projektet i början av 1900-talet. Dadaismen bröt mot gamla konventioner, som att skriva musik enligt det gamla romantiska regelverket. Saties musik varierade från mycket enkel exempelvis i form av "Gymnopédies" till mycket komplicerad i form av exempelvis "Vexations", och han skrev till och med för skrivmaskin! Som person var han mycket excentrisk. Han åt till exempel bara mat som var vit till färgen. I dokumentären läser Strömberg ur boken "Rysk tennis" (Bakhåll förlag) och skådespelerskan Marie Skönblom läser ur brevbiografin "Av och till Satie" (Ejeby förlag). En P2-dokumentär av Mikael Strömberg.
Ich weiß, ich weiß, über Musik zu reden ist wie über Architektur zu tanzen – Sebi aka Sebé und ich tun's trotzdem und stellen uns in dieser Episode der Herausforderung, dem rätselhaften Phänomen der Organisation von Schallereignissen mittels gesprochener Worte näher auf den Grund zu gehen. Er schenkt mir neben vielen Details über seine eigene Musikerwerdung eine gedankenprovozierende Idee über das Stück "Vexations" von Eric Satie, sowie die Erlaubnis, diese Folge mit seinem neusten Werk "A Place" beenden zu dürfen.
"New music inspired by Stephen King series" Chris MacDonald IndieFeed Alternative and Modern Rock
Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
--{ Banking Crisis and The New World Order: Praise 'Money Heaven' and The Banker King, With Golden Cherubs that Silver-Tongued Sing: "Birth Pangs of Crisis Cross Every Border, Economic Disorder of the New World Order, Bringing the Next Phase of Consolidation, Global Governance and the End of the Nation, Culmination of Wise Men's Machinations, Famine, Wars, the Cause of Vexations, For Mr. Moneybags, There is No Appeasement, His Front-Men Sign Each Global Agreement, Of All the Flags that Could be Unfurled, It's That of the Banker Rules the World, All Peoples to Suffer His Age of Austerity, 'cept the Banker who Sidesteps, Nimble Dexterity, We'll All Be in Want of Things We Need, Now the Banker is King, Salivating His Greed" © Alan Watt }-- Science of Economics and Banking, Record-keeping, Moneylending - Instruments to Bring in First Truly World Order - Democracy (Those at the Top Vote), Cover for Fascism - Alexander Hamilton, Life under Tyrants or Democracies - Ancient Greece, City-States and Alliances - Slavery, Wage Slaves and Taxation by Govt. - Greece Forced into EU, Greece Blamed for Economic Crash - IMF Takeovers of Countries, Slashes in National Budgets and Services - World Bank/IMF/BIS and World Government - End of All Sovereignty - BRIC Group of Emerging Nations - Crown Corporations - Planned Austerity - British Debt to Iran for Undelivered Tanks - Falklands War - Bankers Demand Payment. New "Carbon" Economy - Carbon Trading Racket - Streetwise Con Men. (See http://www.cuttingthroughthematrix.com for article links.) *Title/Poem and Dialogue Copyrighted Alan Watt - May 5, 2010 (Exempting Music, Literary Quotes, and Callers' Comments)
Amy Rubin and Dawn Clement recorded their album The Rubin-Clement Piano Dialogues during their 2000 Jack Straw artist residency. They will both be performing as part of Jack Straw’s presentation of Erik Satie’s Vexations on the weekend of May 15th, 2010.
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