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2002-04-07
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #876
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Monday, April 8 2002 Volume 03 : Number 876
In this issue:
-
Odp: What Does DMG Know?
Re: Yoshihide - Dreams
RE: What Does DMG Know?
Re: What Does DMG Know?
Rethenecks
Re: What Does DMG Know?
No Moe
Re: No Moe
comments on Yuka Honda: Memories Are My Only Witness
Douglas' orchestral work
Re: help with Ron Miles' WOMEN'S DAY
Gentle Giant Records going out of business sale
marc ribot/cubanos at Vassar
Re: What Does DMG Know?
Fwd: comments on Yuka Honda: Memories Are My Only Witness
RE: What Does DMG Know?
Re: What Does DMG Know?
Help for a translation
Wuorinen & Adams
----------------------------------------------------------------------
Date: Sun, 7 Apr 2002 10:29:20 +0200
From: "Marcin Gokieli" <marcingokieli@go2.pl>
Subject: Odp: What Does DMG Know?
Did you read his other books, especially *A Scanner Darkly*?
- ----- Original Message -----
From: Steve Smith <ssmith36@sprynet.com>
> Well, since that's precisely the point at which I've just arrived (what
were
> the odds on THAT?), I can't really offer much more of an opinion. But
yeah,
> I was particularly impressed with those passages.
- -
------------------------------
Date: Sun, 07 Apr 2002 12:56:28 +0000
From: "Bill Ashline" <bashline@hotmail.com>
Subject: Re: Yoshihide - Dreams
>From: "Bruno Bissonnette" <burningwater@hotmail.com>
>Subject: Yoshihide - Dreams
>
>Hey, has anybody heard the new Otomo Yoshihide Jazz Ensemble 'Dreams' cd on
>Tzadik? Impressions?
I haven't given it a lot of listens yet, but from what I've heard so far, I
like it a lot. Better than "Flutter." Of course, with Phew and Togawa Jun
on vocals, it's all over the place--elements of treacly Japanese pop to free
jazz and Sachiko M's sampler work this time fits a lot better with the music
as a whole than it did with "Flutter." On the jazz improv parts, "Eureka"
and "Hahen Fukei," there's plenty of inspired work from Kikuchi Naruyoshi,
who for me is a far more interesting tenor player than most of what I hear
coming out of New York these days. I like Phew a lot as well. Particularly
on her work with Anton Fier--the fabulous but stupidly out of print
"Dreamspeed" on Avant and on Blind Light's "Absence of Time." So, I'd give
it a couple of thumbs up so far. I've yet to hear a release by Otomo I
haven't liked.
_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com
- -
------------------------------
Date: Sun, 7 Apr 2002 11:46:45 -0400
From: "Steve Smith" <ssmith36@sprynet.com>
Subject: RE: What Does DMG Know?
Nope, only 'The Man in the High Castle' so far.
Steve Smith
ssmith36@sprynet.com
- -----Original Message-----
From: Marcin Gokieli [mailto:marcingokieli@go2.pl]
Sent: Sunday, April 07, 2002 4:29 AM
Did you read his other books, especially *A Scanner Darkly*?
- -
------------------------------
Date: Sun, 7 Apr 2002 10:29:29 -0700
From: "s~Z" <keithmar@msn.com>
Subject: Re: What Does DMG Know?
>>>Nope, only 'The Man in the High Castle' so far.<<<
You have much better works awaiting you.
The Three Stigmata of Palmer Eldritch
Galactic Pot-Healer
Valis
Ubik
...and more, but those are my 4 favorites.
- -
------------------------------
Date: Sun, 07 Apr 2002 18:25:46 +0000
From: "Kurt Gottschalk" <ecstasymule@hotmail.com>
Subject: Rethenecks
i don't have hanging gardens, but i have 4 of their other cds (sex, aquifer,
black and white and live). from what i can gather from those, they've just
become more interesting over the years.
'sex', the first, is quite jazzy, mellow miles like, but of course without
horn. they've become more abstract and more repetitive, both of which i
like. 'black and white' is really nice, as is live.
live they were great. deep suspense, not at all boring. not the kind of
thing i woulda useta liked live. my ears changed several years ago, when i
was on the edge of my seat during a solo piano morton feldman concert. notes
floating around in the air, waiting to be plucked, resolution so slow.
they're playing victo too!
kg
np: urfaust & gary lucas "prazska strasidla"
(this is some faust relative, i'm guessing. is it representative at all? i
picked it up for gary's guitar. it's interesting, but i'm not sure i'm being
pulled faustway.
Hello.
Just listenied to "Hanging Gardens" by The Necks, and what a pleasent
surpsrise! I thought this band would be plink plonk super minimal impro, but
in fact it's very groovy. Quite similiar to Ponga, but with more than a
slight Steve Reich touch.
So I'm curious. what are their other CDs like?? Do they compare?? Which one
would be the next one to get???
Have anybody seen them live?? I guess it might be incredibly boring, or...?
Generally I prefer this type of music in my living room.
(The Zorn connection of course being that the excellent drummer Tony Buck
ones met a guy who claimed to have heard "The Big Gundown" in the mid 80s)
Cheers,
_________________________________________________________________
Send and receive Hotmail on your mobile device: http://mobile.msn.com
- -
------------------------------
Date: Sun, 7 Apr 2002 19:26:17 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: What Does DMG Know?
On Sun, Apr 07, 2002 at 11:46:45AM -0400, Steve Smith wrote:
> Nope, only 'The Man in the High Castle' so far.
I'd strongly recommend the trilogy "The Divine Invasion", "Valis", and
"The Transmigration of Timothy Archer", then listening to Tod Machover's
opera of "Valis".
> -----Original Message-----
> From: Marcin Gokieli [mailto:marcingokieli@go2.pl]
> Sent: Sunday, April 07, 2002 4:29 AM
>
> Did you read his other books, especially *A Scanner Darkly*?
>
> -
>
- --
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| New book: Surprise Me with Beauty: the Music of Human Systems |
| http://www.metatronpress.com/nj/smwb.html |
| Latest CDs: Collaborations/ All Souls http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Sun, 07 Apr 2002 18:00:49 -0600
From: Dan Frank Kuehn <smokey@laplaza.org>
Subject: No Moe
A slow-burning backburner question:
The tune "No Moe" by Sonny Rollins has been recorded twice by Bill
Frisell, on Have a Little Faith and his live trio album, but I can't
find it anywhere played by Sonny himself.
Has anyone heard or heard of a Sonny Rollins performance of "No Moe"?
Thanx,
Dan in Taos
- -
------------------------------
Date: Sun, 07 Apr 2002 17:06:54 -0700
From: skip Heller <velaires@earthlink.net>
Subject: Re: No Moe
on 4/7/02 5:00 PM, Dan Frank Kuehn at smokey@laplaza.org wrote:
> A slow-burning backburner question:
>
> The tune "No Moe" by Sonny Rollins has been recorded twice by Bill
> Frisell, on Have a Little Faith and his live trio album, but I can't
> find it anywhere played by Sonny himself.
>
> Has anyone heard or heard of a Sonny Rollins performance of "No Moe"?
>
> Thanx,
>
> Dan in Taos
>
> -
>
It's on SONNY ROLLINS WITH THE MODERN JAZZ QUARTET orig on Prestige,
reissued on OJC.
skip h
- -
------------------------------
Date: Mon, 8 Apr 2002 11:36:58 +0100 (WET DST)
From: Ricardo Reis <l43384@alfa.ist.utl.pt>
Subject: comments on Yuka Honda: Memories Are My Only Witness
anyone care to comment on this one?
greets,
Ricardo Reis
"Non Serviam"
- -
------------------------------
Date: Mon, 8 Apr 2002 07:09:35 -0400
From: "patbor" <patbor@buzzle.com>
Subject: Douglas' orchestral work
Hello,
does anybody know if there will
be a live broadcast of the world
premiere of Douglas' orchestral work
scheduled 27 April?
Thank You
Patb
- -
------------------------------
Date: Mon, 08 Apr 2002 17:33:59 +0200
From: "Andreas Dietz" <andreasdietz@hotmail.com>
Subject: Re: help with Ron Miles' WOMEN'S DAY
it was recorded between october and november 1996 in Boulder and probably
released in 1997.
Andreas
np: Johnny Dyani - Mbizo (Steeple Chase)
>From: "Patrice L. Roussel" <proussel@ichips.intel.com>
>
> Does anybody know when that record came out? (The catalog number would
>help also.)
>
> Thanks,
>
> Patrice.
_________________________________________________________________
Testen Sie MSN Messenger fⁿr Ihren Online-Chat mit Freunden:
http://messenger.msn.de
- -
------------------------------
Date: Mon, 08 Apr 2002 12:03:26 -0400
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Gentle Giant Records going out of business sale
I know there are a lot of Otomo fans on this list who might be interested
in tracking down some of his work while it's still somewhat available.
>>>>
From: "TV Pow"
Subject: Gentle Giant Records going out of business sale
For delayed release::
Gentle Giant Records has ceased operations on January 1, 2002.
We have lowered prices on all remaining stock which is available for
purchase from www.tvpow.net
The following items are still available:
:::
Otomo Yoshihide - Sound Factory 1997 - CD/LP
A Box Full of Ghosts - Box Set featuring split 7"s from tvpow/liminal,
kazumoto endo/incapacitants, christian marclay/otomo yoshihide; plus a
CD-ROM of videos from tvpow, otomo yoshihide, liminal, flexible products,
melt banana, and xome.
Cult Junk Cafe - CD - recorded in Tokyo 1996 by Tsunodo Tsuguto, Yasuhiro
Otani, Yoshigami Kyota, Sakamoto Kazutaka, Michael Hartman, and special
guest Otomo Yoshihide.
The Miracle of Levitation - Compilation CD w/Ground Zero, Jim O'Rourke,
Ruins, Melt-Banana, U.S. Maple, James Plotkin, Otomo Yoshihide,
Akiyama-Sugimoto, liminal, Xome, Cult Junk Cafe, Uchihashi Kazuhisa, Tsunoda
Tsuguto, Pencilneck, 7000 Dying Rats, The Flying Luttenbachers, TV Pow,
Lumbar Trio, Altered States, and Yasuhiro Otani.
Kazumoto Endo / Incapacitants - split 7"
Television Power Electric- CD Extra - Expanded version of TV Pow featuring
Jim Baker, Aeron Bergman, Todd Carter, Brent Gutzeit, Michael Hartman, Ernst
Long, Otomo Yoshihide, R. Wilkus.
TV Pow / liminal - split 7"
:::
many thanks to all who supported us.
<<<<
- --
Caleb Deupree
cdeupree@erinet.com
- -
------------------------------
Date: Mon, 08 Apr 2002 16:17:52 GMT
From: "nors5379" <nors5379@fredonia.edu>
Subject: marc ribot/cubanos at Vassar
i was curious if anybody knew anymore about marc's gig at
vassar this weekend? all i have found out so far is its a
free gig at 4pm during the VICE jazz fest on the campus.
supposedly the whole festival starts at 1pm, but i cant find
a listing of who else is playing during the day. i checked
all over vassar's site but theres only a mention of the fest
starting at 1pm. any information would be appreciated.
- -darryl.
- -
------------------------------
Date: Mon, 08 Apr 2002 09:27:52 -0700
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: What Does DMG Know?
On Sun, 7 Apr 2002 10:29:29 -0700 "s~Z" wrote:
>
> >>>Nope, only 'The Man in the High Castle' so far.<<<
>
> You have much better works awaiting you.
>
> The Three Stigmata of Palmer Eldritch
Totally agree. This one is a true nightmare where Dick keeps of fooling
the reader to believe that things have finally settled, and then again,
another layer of the nightmare unravels. Frighteningly awesome.
Patrice.
NP: IN C: Acid Mothers Temple
- -
------------------------------
Date: Mon, 8 Apr 2002 19:29:19 +0200 (CEST)
From: =?iso-8859-1?q?Efr=E9n=20del=20Valle?= <efrendv@yahoo.es>
Subject: Fwd: comments on Yuka Honda: Memories Are My Only Witness
Hi,
No great insights but I listened to ôMemories Are...ö
three or four times and I didnÆt find it too
impressing, so to speak. Just and ordinary electronics
record, not as stylish as itÆs presented on the Tzadik
website, IMHO. There are some good funky rythms and
the sound is very good but in general IÆd say itÆs too
dancefloor-oriented in some moments. Certainly not an
innovative album, mainly based on the use of samplers
and drum machines, and it doesnÆt help cure my
dissappointment with the Oracle Series so far. I had
great expectations but canÆt recommend it at all.
Best,
EfrΘn del Valle
>
>
> anyone care to comment on this one?
>
> greets,
>
> Ricardo Reis
>
> "Non Serviam"
>
>
> -
>
_______________________________________________________________
Do You Yahoo!?
Yahoo! Messenger
Comunicaci≤n instantßnea gratis con tu gente.
http://messenger.yahoo.es
- -
------------------------------
Date: Mon, 8 Apr 2002 13:29:31 -0400
From: "Steve Smith" <ssmith36@sprynet.com>
Subject: RE: What Does DMG Know?
Thanks for the input on PK Dick. Now, would anyone mind telling me where to
begin with Acid Mothers Temple?
Steve Smith
ssmith36@sprynet.com
NP - Otomo/Rowe/Sugimoto, "The Street," 'Ajar' (Alcohol)
- -----Original Message-----
From: owner-zorn-list@lists.xmission.com
[mailto:owner-zorn-list@lists.xmission.com]On Behalf Of Patrice L.
Roussel
NP: IN C: Acid Mothers Temple
- -
------------------------------
Date: Mon, 08 Apr 2002 10:39:27 -0700
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: What Does DMG Know?
On Mon, 8 Apr 2002 13:29:31 -0400 "Steve Smith" wrote:
>
> Thanks for the input on PK Dick. Now, would anyone mind telling me where to
> begin with Acid Mothers Temple?
I can't say a lot since IN C is the first record by the group that I buy.
I really enjoy a lot this record, but mainly for nostalgic reasons. IN C is
35 years old and their version is quite pleasurable. The other pieces remind
me a lot of Rhys Chatham's compositions for guitars (30 years old), but with
a psychedelic angle, and since I am a big fan of Chatham, I like these
pieces also. I have the feeling that this is a record that I will play a
lot, although there is nothing groundbreaking in it.
Is this disc representative?
Patrice.
- -
------------------------------
Date: Fri, 5 Apr 2002 17:31:09 +0200 (CEST)
From: =?iso-8859-1?q?Efr=E9n=20del=20Valle?= <efrendv@yahoo.es>
Subject: Help for a translation
HI,
I'm currently translating a Tim Berne interview from
Perfect Sound Forever and there's something I don't
quite understand. Berne states that Gary Lucas was
working as "ad copy" for Columbia (if I'm not wrong).
If any English speakers could give me a description of
what "ad copy" is, I'll probably be able to find a
correspondance in Spanish.
A million thanks in advance.
BTW, check the interview! It's really good.
Best,
Efrin del Valle
_______________________________________________________________
Do You Yahoo!?
Yahoo! Messenger
Comunicacisn instantanea gratis con tu gente.
http://messenger.yahoo.es
- -
------------------------------
Date: Sun, 7 Apr 2002 08:19:02 -0500
From: Herb Levy <herb@eskimo.com>
Subject: Wuorinen & Adams
Steve Smith wrote:
>As far as his actual music goes, Wuorinen's hit-to-miss ratio is actually
>rather good. He's written a few indispensible things (Time's Encomium,
>Percussion Symphony), a fair amount of pretty damn good things (Third Piano
>Concerto, The Golden Dance, the disc of trios on Koch International
>Classics) and a lot of arid, formulaic and seemingly emotionless music as
>well.
My reaction to his work is similar, though I think our lists of hits
differ somewhat. But your follow-up really mis-states Wuorinen's
arguments over the years.
>The reason that I think Wuorinen provokes such a heated response is for the
>bluntness with which he states his personal aesthetic convictions, well
>documented in numerous interviews and many of them rather unpopular. For
>him, music skips from Machaut, Dufay and Josquin by way of Bach to Mozart,
>Haydn and Beethoven, then to Stravinsky and Schoenberg, and finally Wolpe,
>Babbitt and Carter, with between those disparate poles.
>
>Hey, I understand the desire to be provocative -- the above "top 12" was
>concocted in a public interview -- but I have real problems with his
>omissions, personally. You can't completely understand Schoenberg without
>knowing Brahms, and the same holds true to some extent for Stravinsky vis a
>vis Tchaikovsky and Rimsky-Korsakov. If Wuorinen doesn't like Romantic music
>fine, but to gloss over its highlights -- especially Brahms, but also
>Berlioz (for the art of orchestration), Chopin (for the piano music),
>Schubert (for the chamber music and lieder) and Liszt (for virtually
>everything) -- is a misrepresentation of history.
What you say here is certainly true, but if Wuorinen was responding
to a question something like "name the dozen composers who are most
interesting/important/etc to you," which I'm pretty sure is the
context for this list, he's under no obligation to accurately
represent the history of Western classical music. This kind of
idiosyncratic response is absolutely more interesting than if he'd
come up with the kind of list that's used for a 12 week music
appreciation class. & for what it's worth, similar lists by Steve
Reich have some of the same lapses though, of course, the most recent
composers Reich picks as important to him are quite different.
>And as for contemporary music, well, if it ain't serialist, it ain't shit,
>apparently. For at least a decade he's been the epitome of the "academic"
>composer, denying neo-Romantics, minimalist and other assorted eclectics
>alike access to performance opportunities, or at least that's the
>perception. Here's a pretty good illustration, in the man's own words (no
>omissions or elisions, even) from an editorial he wrote for the March 17th
>issue of the New York Times on why the loss of classical music programming
>on WNYC-FM doesn't really make any difference:
>
>"The sad fact is that WNYC's new music fare has lately been pretty
>one-sided, concentrating on the pop avant-garde that really is just
>commercially unsuccessful rock and roll garnished with a dollop of John
>Cage. Absent is the tough stuff you can sink your teeth into. New York may
>be the cultural capital of the world, but it's also the world hype capital,
>and a lot of what happens here culturally is distorted. Puffery trumps
>reality."
>
>If you've lived in New York for any period of time whatsoever (and I know
>you have, David), you know how completely this statement blows, and how a
>few people at that station have provided tremendous service in supporting
>the careers of Zorn, Glass, Reich, Meredith Monk, Laurie Anderson, the Bang
>on a Can crowd and countless others. What Wuorinen's saying, in effect, is,
>"The station doesn't play MY music." Plain and simple. Kinda makes you
>wonder what he thought of sharing a bill with Zorn a few weeks back, doesn't
>it?
What you say about his frequent vociferous & public position as
apologist for serialist music in the face of "neo-Romantics,
minimalist and other assorted eclectics" is again true (though your
sense of history is somewhat skewed, he's had this attitude since the
mid-1970s), but it's inaccurate to reduce his argument to "The
station doesn't play MY music." I don't live in NYC, but WNYC never
played much, if any, music by Scoenberg, Wolpe, Babbitt, Carter,
either, to name only those mentioned in Wuorinen's top 12 list. He's
clearly trying to make a case for a lack of attention to a much wider
swath of music history than just his own music.
If, say, Dave Douglas were to make a similar argument about the lack
of downtown scene-sters on any of the countless jazz stations across
the US that basically follow the Wynton line of music history, I
doubt that you'd reduce his argument to "The station doesn't play MY
music."
Your own list of composers recently championed by WNYC, with the
exception of Zorn, can pretty much be reduced to various flavors of
minimalist and ignores any "neo-Romantics and other assorted
eclectics." I know the station's been supportive of "neo-Romantics"
but based on my limited sense of things from my increasingly scarce
visits to NY, the "other assorted eclectics" who were part of the
station's overall programming mix, and not simply heard on John
Schaeffer's program, were few and far between.
And finally, given the release of Wuorinen's disc on Tzadik, do you
really question whether he'd want his music to be heard in same
context as Zorn's? Isn't that exactly the situation of having a disc
released on Zorn's label? The CD can't be a surprise to Wuorinen, so
I'd be amazed if he were to have a problem with the recent concert.
Jim Flannery <newgrange@sfo.com> wrote:
>Personally, I hate him for single-handedly destroying the SF Symphony's
>"New and Unusual Music" series, which under the leadership of John Adams
>had presented (to progressively larger audiences) performances including
>Paul Dresher's _Liquid and Stellar Music_, ROVA, and Reich's _Music for
>Large Ensemble_ (those last three on one program, IIRC), Glenn Branca's
>_Symphony #5_, a 2-hour solo piano performance by Charlemagne Palestine
>(AFAIK his only SF appearance in the last 25 years), Ingram Marshall's
>_Fog Tropes_ ... I could go on ... and after Wuorinen took over
>sputtered through a couple years of indifferent performances of
>compositions by now-forgotten young serialist nebbishes (presumably his
>grad students) being played to steadily emptier rooms, until the whole
>thing was abandoned for lack of interest. <<sigh>>
While I too was far more interested in the programming Adams did in
this series than Wuorinen did during his stint, I'd place the blame
on the music director who chose Wuorinen to follow Adams. Wuorinen
did what he was asked to do, he selected contemporary music that was
interesting to him. Whoever hired him to do this very clearly had
either no idea what that would mean or didn't care.
(& 25 years is probably a slight exaggeration on the Palestine
performance. I'd be surprised if he hadn't played at Langton (back
when they were called (& were at) 80 Langton Street) in the late
1970s/early '80s. He was on the West Coast several times in that
period.)
UFOrbK8@aol.com wrote:
>In a message dated 04.06.02 22.51.14, newgrange@sfo.com writes:
>
> >Personally, I hate him for single-handedly destroying the SF Symphony's
> >"New and Unusual Music" series, which under the leadership of John Adams
> >had presented (to progressively larger audiences) performances including
> >Paul Dresher's _Liquid and Stellar Music_, ROVA, and Reich's _Music for
> >Large Ensemble_ (those last three on one program, IIRC), Glenn Branca's
> >_Symph...
>
>john adams' relative pertinence in new music is questionable to me, too
This is a mis-reading of the post you're responding to. Jim Flannery
was comparing the range of music Adams curated into a SFO's concert
series while he was the orchestra's composer-in-residence with the
range of work presented by Wuorinen when he served the same function.
>... i
>love his early period ('77-ca.1987) and a few later works, and adore his
>orchestrations of the *smaller* pieces, etc. but he's very much a packaged
>performer/composer/bureaucrat in a way that i really disapprove of...
>
>case in point is a personal antecdote - i was at a Q&A with him at the
>cleveland orchestra and i'd met him before (but obviously didn't know him
>really - still don't) and i raised my hand and asked him what the worst
>review he ever got was. the little Q&A director laughed nervously and said
>"oh, gee, you must be a composer..." and john giggled nervously and said "i
>don't know what the worst review i ever got was, but the best i ever got said
>'john adams has done for minimalism what mcdonalds has done for the
>hamburger...'
I don't love all of Adams' work, any more than I do Wuorinen's, but
Adams isn't simply a bureaucrat. He seems to be writing the music he
wants to write (I think they both are). Adams is lucky to have
written some pieces that get played by a lot of orchestras,
especially in the US, and may well be the most performed living
American composer of works for orchestra since the death of Aaron
Copland. While he may not be my choice for new music posterboy, he's
probably one of the few living composers that symphony subscribers
would recognize by name and might even be able to remember hearing a
piece by.
>- he has a funny way of spitting out the exact same sentences
>to people and being so ickily insincere... he doesn't do much for the face
>of new music for me either...
Many people who are frequently interviewed by press people who have
no idea about their work, or the wider context for it (which means
almost any artist who is not working in extremely successful
(commercially) pop music or movies, and even many of them), have set
responses to the commonly asked questions. This is as true for
scientists as it is for artists - if you read a lot of interviews in
the popular press with people like John Cage or Richard Feynman, you
see an awful lot of answers on automatic pilot. It comes with the
territory: it's more of a way to keep comparatively sane than
anything else.
- --
Herb Levy
Mappings: new music in RealAudio
P O Box 9369 Forth Wort, TX 76147 USA
http://antennaradio.com/mappings/show.htm
mappings@antennaradio.com
- -
------------------------------
End of Zorn List Digest V3 #876
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