Grumpy Update

Yes, I’m grumpy and this is what I’ve been doing:
Christi came home Tuesday night without her laptop. Wednesday morning, we had to go pick up Joe/Zeppie and take him to the OM Tape archives. Apparently, last time it was aproblem because we showed up at 9:02 instead of 9:00 and made the building owners late for something. So we have to be there absolutely by nine and Christi has left Zeppie’s address on her computer, which is in San Francisco. This story is not that exciting. We arrived at 9:00 and spent several hours cataloging stuff, including something called the World Ear Project. Back when KPFA was extra cool, they would just play any sonds that anybody recorded. Tape recorders were kind of expensive then, so they had a smaller number of potential folks sending stuff in, and people who had tape recorders generally knew how to use them, so these are pretty high quality recordings. None of the tapes had numbers, but they all have titles (and the shelfs are numbered). So we were typing things like, Cat eating cat food in a backyard on Regent Street. with the actual address. Part of the reason we’re figuring out what is in the archive is so that we know what’s there, but it’s also so we can go to potential doners and say, “Here’s a fabulous recording that needs to be digitized! Give us the $400 we need to do it!” I’m not sure that this 1971 cat is going to be a big money maker. Christi was joking that we could go knock on the door of that address and see if the persons living there now want to pay for restoring the tape. Charles Amirkhanian glanced at the tape and told us whose house it used to be and a bunch of background. He can look at any tape in the archive, no matter how minimally labelled, and tell you all sorts of things about how and when it was recorded, who was there, what happened, etc. Anyway, he found a tape of the premeire of Lou Harrison’s piece King David’s Lament and got very excited about doing it at the OM9 festival and decided he had to go right away to digitize the tape and left it behind.
So after lunch, we went by his home/studio with the tape and recorded it to protool. Charles did not clean his tape haed at first, until it was questioned about how dirty it might be. Zeppie wanted to photgraph it. There was actualyl a piece of tape stuck to the head. We had already played the Harrison tape a few times when this was noticed. I think the tape might have been degrading with every play…. We spent time trying to mix it there. Maybe and hour. Then I decided maybe it would be better to do it on my own computer.
So I went home with the Pro Tools project and spent an hour or so trying to get the super-optimal mix. Then Christi and I went to Spanish class. The teacher there is obviously spending his non-teaching hours writing a thesis on second language acquistition. He spent the first 45 minutes or one hour of the class talking about how language is acquired. Interesting. I can’t imagine he would beleive in Esperanto as it doesn’t jive with his theories. He told us that the most important conversations we would have with folks would be practical. “Where is the bathroom?” “What’s your phone number?” “What’s your name?” “What’s your passport number?” etc. So we learned some shape named and colors and then he gave us cut out squares, rectangles and circles and some phrases for locating things and had us play battle ship. Then he talked extremely briefly about shops and then gave us lists of clues for where the shops fit into a map that he gave us. He said, “There is only one correct solution as there is only one correct solution for all of my exercizes. . . We can talk about why this is some other time.” La tienda de X es entre A y B. or something. I’m not sure how much spanish I learned, but I feel good about second language acquistion. I think the exercizes would work really well for a lesson 5 in Esperanto. At lesson 5, you’d have some vocalubulary and kinds know how the language works and then you could learn more vocab, like shapes, colors and locations by doing exercizes and you’d probably feel a lot less lost than I did.
Then we went back to Charles’ house with a zip disk of the Harrison piece. He was super-excited because he was reading Lou’s biography and the piece was mentioned, but the biographer didn’t know it had ever been preimered. Apparently, it’s for four hands on the piano and the players interlock arms. The piece is beautiful and is a very moving lament. I wish we could have had it at my mom’s funeral, for example. It’s wonderful. Anyway, Christi was looking at the bio and discovered that a choal version had been recorded in the 80’s and was included with the CD that came with the book. We put on the CD and found a excellently recorded, well produced, much bigger and hiss-free version of the same song. Charles said, “wow! Adn we were wasting time with that rinky-dink piano version!” yes indeed. non-profit is just like for profit, but without the profit.
So I went home and couldn’t sleep and so woke up late for my thursday volunteer in the OM office day and we missed BART so drove in. I could not wake up until I had a double latte. I had one yesterday morning too. I think I’m addicted. Anyway, so they gave me a list of people whose addresses I was suppossed to locate. This list included Lilly Tomlin, Sharon Stone, etc. You always hear about cyber-stalkers. I think they are after people less well-known. I couldn’t even find Lilly Tomlim’s agent. Not that I had an idea of how to search besdies google. I tried searching for “Lilly Tomlin” AND agent, but apparently she is widely quoted in signatures, something on the order of, “I always wanted to be someone when I grew up. I guess I should have been more specific.” Nerds love this quote. So I found many lengthy usenet archives of discussions for AI groups on intellegent agents.
Another guy that I was suppossed to look for was named “Eric Smith.” Whoever suggested him for this list had gone home. Was he a famous photographer? Does he lives in Texas and do topiary as an avocation? Has he writted books on pharmocology? All-righty. So I got through a large chunk of my list. (You can actually find a name and address for a Sharon Stone agent on a geocities site. Is it real? Who knows.) and gave up on the rest and came home and spent 20 minutes eating a banana and petting my dog and went back to Charles’ house for a meeting on the MPR project. This was 7:00 PM.
Minnesota Public Radio wants to air a show on modern music that draws material from the KPFA tape archives. They would give us money to digitize the tapes and possibly pay the people working on it. I got on the list for the project as a sound engineer or producer or composer or something. This show would be broadcast on NPR-affiliates, so people all over the country could hear it, except in much of the Bar Area, cuz KQED doesn’t do music anymore.
So we show up at Charles’ house at 7:00. We assemble in his studio and he says, “why have we called this meeting? What is this about?”
We remind him and on the meeting goes. He set the tone, kind of, with the start. At some point, he told Christi and I took keep a diary, so years from now when we try to remember details of the music scene, or a particular composer, we can go look at our journals and remember stuff. My blog, especially today, is dedicated to that vision. He also said, during an interview that will air tomorrow at 4:00, that peple who wanted to reminis about Lou Harrison could go to the Other Minds website to do so, because there would be kind of a memorial message board. Such a board does not currently exist. Christi does not work on Fridays. Really.
I got home at around 9:45 – 10:00, had a plate of noodles with canned pasta sauce (actually, bottled pasta sauce) and then typed away in my blog. Mitch would be concerned about the pasta, but my lunch was very healthy. There is a wonderful vietnamese restaurant near the OM office. I had string beans with tons of garlic and mushrooms and it came with a salad and wonderful soup (pinapple and vinegar were in it, as well as tamaters and tofu and other vegetable matter) and rice (ok, it was white rice) and an Imperial roll (this is a new phrase for me. It’s a really long fried thing, similar to a spring roll, but bigger). It was great. Especially the soup and garlic beans. The thai place across the street from it also has excellent soup. The mission is a soup neighborhood. I just made that up. I’m tired. I’m grumpy. I want shepherd’s pie and asparagus and artichokes for dinner, but I’m suffering for art.
tiffany is asleep, so I can’t work on my symphony (this situation will persist until digidesign ships digi001 drivers for OSX). Phillip Glass only has time to write music in the mornings, so he would only write down musical ideas that came to him during morning hours and thus trained himself so that now he only has musical ideas in the mornings, or so he wrote in a book that I read. That’s discipline.

Christi says that I am making all the mistakes that new symphony composers make. Apparently, if you have the whole symphony playing at once, you’re kind of assaulting the audience. She says this is a bad thing. She says, “the symphony is the strings. It’s like if you have a dress, the other instruments are just the lace.” I said, ok, I’ll cut the strongs from my thirty second introduction. She said, “No, then it’s like you’re just warpping a person in nothing but lace and it’s all see-through…” The conversation sort of went astray around then…

THE WOMEN’S PHILHARMONIC
CALL FOR SCORES

PLEASE FORWARD WIDELY

2003 Music in the Making: New Music Reading Session
Deadline: Friday, March 14, 2003 (in the office)
Complete Guidelines: http://www.womensphil.org

The Women’s Philharmonic invites women composers with U.S. legal residence
(no age limit) to submit orchestral compositions that have not yet been
performed by a professional orchestra for our 16th annual Music in the
Making: New Music Reading Session.

Up to four works will be selected anonymously by a panel of distinguished
musicians for performance by The Women’s Philharmonic in a reading session
in San Francisco at the end of May 2003. Selected composers must attend
the reading; an honorarium is available to help defray travel costs. Each
selected composer will receive a professional orchestral reading, a
professionally-engineered recording for non-commercial use, and feedback
from conductors, musicians, and audience members.

Please consult guidelines at http://www.womensphil.org
for required
instrumentation and length, as well as application procedure.

The Women’s Philharmonic
44 Page Street Suite #604D
San Francisco, CA 94102
Telephone: 415-437-0123
Fax: 415-437-0121
Email: nmrs@womensphil.org

Music in the Making is made possible, in part, through the generous support
of The San Francisco Arts Commission.

Another Call for Submissions

AETHER FEST : Festival of International Radio Art

June 1-29, 2003 at KUNM fm ^?Albuquerque, New Mexico USA

Presented by KUNM, Nonsequitur, and Harwood Arts Center

Artists and producers of all ages, nationalities and disciplines are invited
to
submit recorded works of experimental radio art (and visual art on the theme
of
radio) for possible inclusion in this juried broadcast festival/gallery
exhibit. We
seek work that challenges what radio is and does and explores what it might
be and
could do.

^?adio Art^?is here defined as a work made specifically for radio broadcast,
with the
intention of expanding the creative and aesthetic possibilities of the
medium. Such
works may or may not employ elements of other established genres such as
radio
theater, spoken word, performance art, h?iel, text-sound or sound poetry,
electroacoustic music, soundscapes, documentary, talk show, etc. They might
be
^?bout^?radio, subverting or exploiting the conventions and expectations of
the
medium; or, they might make use of the radio apparatus itself as instrument
or content.

Aether Fest will be broadcast on radio station KUNM 89.9 FM, located at the
University of New Mexico in Albuquerque, New Mexico, USA (also webcast at
http://www.kunm.org). Primary broadcast hours will be each Sunday night from
8:30
-11:30 during the month of June, 2003, with the possibility of adding other
hours
throughout the month.

There will also be a concurrent exhibit of visual art related to the theme
of radio
(broadcasting, transmission, aether, communication, airwaves, disembodied
voices,
etc.) held throughout the month of June at the Harwood Art Center in
Albuquerque;
this will be juried by the HAC^? Visual Arts Committee.

Artists may submit both audio and visual work, and are encouraged to do so
if they
work in both media.

Awards

Cash awards of $300 US will be given to each of three outstanding audio
works
selected by the jury.

Submission Guidelines

^?There are three general categories for submissions:

  1. recent work (made since 1998)
  2. older work (made before 1998)
  3. shorts (complete, unedited pieces of 5 minutes or less)

We are most interested in recent work, but will of course consider works
created at
any time (recorded works which have been released commercially are ok, too).

^?You may submit as many different works for consideration as you wish.
Please
specify if each work has been previously broadcast, or if this would be a
premier.

^?The content of all works submitted must be completely original; straight
adaptations of published texts or works which use previously released
recordings of
music or sound by other artists as a ^?oundtrack^?will not be accepted.
(allowances
will be made for creative use of sampling; if you have questions about this,
contact us)

^?We prefer individual works that are 25 minutes or less, but longer works
will be
considered. (for long pieces, we suggest that you also include an edited
version as
an alternate choice)

^?CD, CD-R or DAT is preferred, but cassettes will also be accepted if the
artist
does not have access to digital recording media.

^?Send 3 copies of each work submitted (you may include more than one work
per
CD/tape; please use index points on CD or DAT, or clear silences separating
pieces on
cassette)

^?Please include biographical information, credits for all participants, and
anything
else you want us to know about the work (3 copies). It is a good idea to
mention what
qualifies the work as ^?adio art^?if that is not obvious.

^?For works in which text plays a major role, at least half of the text
should be in
English (we are flexible about this); however, works in other languages will
be
considered, especially if an understanding of the text is not crucial to the
appreciation of the piece. Works without any spoken text are also
acceptable.

^?Volunteers and Staff of KUNM may submit work to be considered for
broadcast, but
are not elligible to receive cash awards.

^?Sorry, we can not return your submitted materials. All recordings etc.
received
will be archived at KUNM and Nonsequitur.

SUBMISSION GUIDELINES FOR VISUAL WORKS

^?We are seeking artwork (realist, abstract, conceptual, etc.) which somehow
addresses the theme of radio.

^?Artists who are submitting audio work may also submit visual work.

^?You may submit as many different works for consideration as you wish.

^?Works may be two- or three-dimensional, in any media (sorry, no video). We
will
consider proposals for small-scale installations, but keep in mind that
gallery space
is limited. There is also a large space for sculpture outside, between the
building
and the street.

^?In the case of conceptual works which may or may not yet have been
created, please
send a clear written description of what you intend to do. If you have
slides or
photos of other relevant work, please include them.

^?Do not send original artwork! If your work is selected, we will contact
you about
shipping it.

^?Send clearly labeled slides or prints for each work you would like to
submit for
consideration. Include a separate sheet of paper with title, dimensions,
materials,
and year made for each work. Also include biographical information and a
brief
statement about the work.

^?If you wish to have your slides etc. returned, you must include a
self-addressed
stamped envelope. MATERIALS SUBMITTED WITHOUT SASE WILL NOT BE RETURNED!

^?There is no entry fee for this exhibit, however artists who are chosen to
participate must pay for the cost of shipping their work to the gallery. The
festival
will pay for return shipping.

^?IMPORTANT NOTE: While the Harwood Art Center does not carry insurance for
artwork,
they do provide 24 hour video recording surveillance for the galleries as
well as
security patrols during off hours. Artists whose work is chosen will be
asked to sign
a release stating that the Harwood Art Center, Nonsequitur, and KUNM will
not be held
financially responsible for any damage or theft that may occur, either on
the
premises or in transit.

Deadline

All audio and visual submissions must be received NO LATER THAN APRIL1,
2003.

Send audio and visual submissions to:

Aether Fest
c/o Nonsequitur
PO Box 344
Albuquerque, NM 87103 USA

For more information, contact Steve Peters at Nonsequitur:

tel/fax: 505-224-9483
e-mail: nonseq@swcp.com

Information updates will also be posted at http://www.kunm.org

Call for Scores

A Concert Series featuring contemporary San Francisco Bay Area composers
is being planned. It is intended to provide exposure for the significant
compositional work going on in the area. Vocal and instrumental works
and a limited amount of electronic and tape assisted music will be
included.
It will be performed by the Worn Chamber Ensemble in San Francisco
halls and other Bay Area venues.

First SCORE CALL is for a concert in early
December 2003 for one or more works requiring
no more than 15 minutes total performance time.
Instrumentation will be one or more of the
following: fl/picc, cl/bass cl,bsn/contr. bsn, tpt,
perc(1), kbd ( pno & syn ), mezzo soprano, vla,
vc, cb. Additional instruments at composers expense.
Vocal works should be free of copyright issues.
Postmark deadline extended to April 30, 2003.
Please submit scores, tape(s), CD(s), resume
with S.A.S.E. for return of materials to

Robert Arnold Hall
16162 Lilac Lane
Los Gatos Ca 95032
408-358-2283
rahcomp@attbi.com
http://www.Music-Hall.net.

FYI. Actually, FMyI.

to do

  • Research women composers for Women’s Philharmonic
    Not started
    Due in one week
  • Write symphony
    First thirty seconds written
    Due on March 14th
  • Women’s Phil database of doom
    oh my god. i am not thinking about this right now.
  • Move mp3s to xkey.com so as to set up a replacement page for now defunct mp3.com page
    I’m going to go do this right now
  • Email professer at east coast school about studying there
    I need to do this asap, but i think i should fix my mp3 page first
  • Set up biodiesel domain
  • Find cheep computers and software for Christi’s non profit
  • Halt impending middle eastern war and replace US with a Socialist Soviet Republic

busy busy busy

Re-use / Re-cycle

Re – use and re- cycling are not free. I re – user beer bottles and put more beer in them. This process uses a lot of hot water and can also involve bleach or iodine. Yet, it still seems to be more energy efficient than buying new bottles every time. Also, although glass is infinitely recyclable, it must be melted down and otherwise use a lot of energy every time. Noone suggests that we should just give up recycling and use new materials for glass and paper every time to to save energy. No one suggests that we give up on re-usable, re-cyclable glass to use plastic bottles and thorw them into landfills when we’re done with them.
Why, then, do some folks alledge that disposable diapers are better than washable? Babies using disposable diapers send one ton of waste to the landfill every year. This goes in a santiary landfill (unlike construction waste, which there is more of every year, but it can be dumped more haphazardly). True, it takes energy and water to wash diapers, but it also takes energy, water and petroleum and lots of space to use disposable diapers. Perhaps it would be better to think of washable diapers as recyclable diapers. Nobody suggests we should use virgin paper pulp instead of recycling paper (since recycling takes energy and water), so think of diapers the same way.
Some folks add the energy needed to transport diapers to and from a diaper service. As if disposables floated home under their own power and then floated on, similarly, to the landfill. Some folkd point ot the existence of “biodegradable” diapers. Papaer also biodegrades, btw, but we still recycle. But paper does not biodegrade in a santiary landfill. Nothing biodegrades in a sanitary landfill. It makes a lousy compost heap. And even if it did biodegrade, so what? You can take the output of your composting toilet and spread it around your rose garden, but you can’t do the same with landfill stuff, since it’s full of all sorts of pollutants. throwing something into a landfill is throwing it away and any usefulness and value it might have had away for the next several generations, perhaps forever. Biodegradable diapers would stills end one ton of waste to a landfill.
Oxygen bleach kills germs. If you soak something in oxygen bleach, it keels germs just like chlorine bleach, but unlike the latter, it “biodegrades” into oxygen and water, because oxygen bleach is just hydrogem peroxide. Therefore, you have a method of killing diaper germs that is not polluting. I just thought I’d share..

Food

food is good. Food is love. Food is making us fat. Food is dead. Food has poison in it. Food has been industrialized. Food is processed. Food is unprocessed. You should eat more meat. You should eat less meat. You should eat not meat. Dairy. Grains. Vegetables.
Food is a demon that haunts us. Our relationship to food has gotten to be tremendously complex. Is it because of poor body image, industrialization? I’m hardly unbiased here as someone who strives to eat mostly vegan food.
I avoid animal products because of industrialization. Modern animal husbandry is terribly wasteful and polluting, unhealthy for people and animals. But I tell people that I’m vegan because I love food. You can eat tons of vegan food and still be hungry. I get to eat more than everyone else.
People should love food. It gives us nutrients and comfort. We often eat comunally, so it nourishes us socially in addition to physically. The family dinner is a tradition in our culture. My favorite thing is when Christi makes her shepherd’s pie and we sit down with firends and housemates to eat it. I love shepherd’s pie. I also love the way it is a special occasion that brings people together to share food.
but what about body image, industrialization, vitamins, etc? My theory is that it is perfectly ok to have a no list. (obviously, since i try to be vegan), but you should also have a yes list. What are your favorite foods? Why do you like them? What are your favorite recipies (or restaurants)? Also, I heard a nutritionist on KPFA saying that everyone should take a good multivitamin. That way if your diet is a little unbalanced, you’re still ok. Since this was KPFA, I know that he wasn’t a tool of the vitamin industry.
Time for lunch…

Lou Harrison died last night. He was a wonderful world music and percussion composer. He had a tremendous impact on classical music. He was also, a warm, talkative and friendly person. This is very sad. I’m glad I got to meet him as the OM 8 driver last year. He talked about local architecture and the SF World’s Fair, for which the Palace of Fine Arts was built and how he first heard Eastern music there and it made him want to compose. He also spoke some Esperanto with me. He claimed to hardly remember it and then rapid-fired off several sentences. My old housemate was his sign language teacher. It used to be very exciting when he would call. World-famous composer calling for my housemate! Anyway, it’s very sad and a big loss for music. He never stopped composing.