― not everything is a campfire (ian), Saturday, 4 December 2010 04:15 (six years ago) Permalink
In Sara, Mencken, Christ and Beethoven There Were Men and Women
this totally kicked my ass at work this morning around 8 A.M.
― sleeve, Saturday, 4 December 2010 07:03 (six years ago) Permalink
i always think it would be fun to rerecord sarah mencken replacing the names w/ my friends names
― plax (ico), Saturday, 4 December 2010 22:13 (six years ago) Permalink
o_O where do you work?
― jed_, Saturday, 4 December 2010 22:19 (six years ago) Permalink
haha it was on my iPod, just playing shuffle in the AM - I work by myself for most of my shift.
― sleeve, Sunday, 5 December 2010 03:28 (six years ago) Permalink
I found Private Parts, Perfect Lives (Private Parts): The Bar, Automatic Writing, and Perfect Lives (Private Parts): Music Word Fire And I Would Do It Again (Coo Coo) at the community radio station I volunteer at. Kind of overwhelmed with Ashley at the moment. I listened to all of them (in the order above) last night. Automatic Writing was my least favorite, but I was listening to it pretty quietly cuz I didn't want to bug my neighbors upstairs. Maybe if I cranked it up I would like it more. The other three pretty much floored me. The increasing complexity from record to record really engaged me, I was expecting them to all sound like Private Parts. But The Bar immediately destroyed that impression. It's really psychedelic. I felt altered just listening to it. And then Music Word Fire sounded like some lost Arthur Russell underground dance jam.
It's all pretty much brand new to me. I've just looked up his discography and see that I've only been exposed to a small portion of it. I've heard Tyranny's Out of the Blue and The Intermediary, but it is pretty clear that there is a whole lot more music to discover out of this "scene" for lack of a better word.
― Trip Maker, Friday, 27 May 2011 13:51 (six years ago) Permalink
love the bar!
I know my thing is to complain about shit I didn't go to but I missed him when he came to providence this year, I think elmo went tho?
here's a tv series ashley produced on the "scene" back in the 70s, see you in 14 hours
― bandcamper van beethoven (Edward III), Friday, 27 May 2011 13:59 (six years ago) Permalink
― Trip Maker, Friday, 27 May 2011 14:05 (six years ago) Permalink
Truly love Robert Ashley; one of my all-time heroes. Saw him a few years back performing with his ensemble three nights in a row.
Trips, do you know Atalanta? That is the one that for me really kind of blows my mind. It's incredibly dense and the narrative qualities are harder to follow than ever, but it's mindblowing and gorgeous and just sounds really cool..
The Perfect Lives DVD set is highly recommended as well.
― one dis leads to another (ian), Friday, 27 May 2011 14:55 (six years ago) Permalink
All I've heard are the four I've listed, I'll look out for Atalanta. And I definitely want to see the DVDs, the records themselves are so cinematic.I am going to watch some of those videos from the link that Ed posted, too, but my home computer is on the fritz and I probably shouldn't watch them at work.Though it is Friday...
― Trip Maker, Friday, 27 May 2011 15:02 (six years ago) Permalink
atalanta is really amazing, and the whole LOVELY MUSIC scene is pretty high-qual. there's a few duds ive heard, but like david behrman, pauline oliveros, blue gene tyranny, eliane radigue, gordon mumma, etc etc etc, all so good.
― 69, Tuesday, 31 May 2011 20:16 (six years ago) Permalink
saw FOREIGN EXPERIENCES (from 86 or something?) a few weeks ago at mills with RA in attendance. that one is super-intense, and the whole experience of seeing it performed live was amazing. kind of like i felt when i watched INLAND EMPIRE, i was physically drained upon leaving, in a really good way.
― 69, Tuesday, 31 May 2011 20:18 (six years ago) Permalink
Can't wait to play some of it on the air. This is the kind of thing that would stop me in my tracks if I heard it on the radio first.It's also nice to have a cache of "really long tracks that are awesome" for when you need a break.
― Trip Maker, Tuesday, 31 May 2011 20:19 (six years ago) Permalink
i play the park/the backyard to close my show at least a few times per year... such beautiful music. it blows my mind that more people are not totally in love with the work of Robert Ashley.
― one dis leads to another (ian), Wednesday, 1 June 2011 01:34 (six years ago) Permalink
First time I heard Robert Ashley was on the radio when the DJ played "Mila's Journey Inspired By a Dream" and it blew my mind
― badg, Wednesday, 1 June 2011 05:52 (six years ago) Permalink
I played side one of The Bar last night. Sounded great. Haven't gotten any listener comments, though. I found a compilation record with the piece "She Was a Visitor" on it at the station. I just now found a copy of the Sonic Arts Union comp lp with the Ashley piece "Purposeful Lady Slow Afternoon" as well as pieces by Alvin Lucier and Gordon Mumma at the academic library where I am employed. I also found some Leonardo Music Journal cd's (WTF had no idea that was an actual thing) as well as the Robert Ashley cd "Superior Seven."Can't wait to clock out, go home, and crank these up.
― Trip Maker, Thursday, 2 June 2011 20:07 (six years ago) Permalink
If i was from the big town I would be calm and debonair
― it's a meme i made and i like (Steve Shasta), Thursday, 2 June 2011 20:26 (six years ago) Permalink
"purposeful lady slow afternoon" is so unpleasant..
― one dis leads to another (ian), Friday, 3 June 2011 13:04 (six years ago) Permalink
Yeah, horrible, really. I mean, I like the way it sounds, but the text is just....bad sex is not something I need more insight into.I feel like his background in Hollywood must have influenced that (and everything else, I suppose).
― Trip Maker, Friday, 3 June 2011 13:07 (six years ago) Permalink
Alvin Lucier's piece on that record, though, sounded GREAT when I turned it up REAL LOUD.It's cicada season in Missouri and they are really droning up a storm this year. The piece worked well in conjunction with that.
― Trip Maker, Friday, 3 June 2011 13:09 (six years ago) Permalink
Superior Seven is also not so great, it's instrumental :(
― Trip Maker, Friday, 3 June 2011 13:10 (six years ago) Permalink
― creme de cassie (donna rouge), Monday, 6 June 2011 21:07 (six years ago) Permalink
also: dalkey archive is publishing the 'perfect lives' libretto later this year
― creme de cassie (donna rouge), Monday, 6 June 2011 21:13 (six years ago) Permalink
that's a weird one - the liner notes are a long & funny essay about how the expenses involved make it almost completely impossible for composers to write for orchestra. then the CD has two half-hour pieces 'for orchestra' realized with MIDI realizations using cheap orchestral preset sounds. I remember the second piece had potential, if it were to actually be played, but with those liners, the entire release seemed a little closer to an apology than a working prank
― Milton Parker, Monday, 6 June 2011 21:56 (six years ago) Permalink
but I still keep it, because it's an interesting example of Ashley's traditionally musical composition. as he frequently (notoriously) leaves musical chords / arrangements up to his collaborators like Blue "Gene" Tyranny, Superior Seven is a good way to get a grip on what his sense of musical composition when he limits himself to notes. the other really effective piece where Ashley's writing the notes as well as the words is 'Tap Dancing In The Sand'.
― Milton Parker, Monday, 6 June 2011 22:00 (six years ago) Permalink
Thanks for the context, Milton. It left me scratching my head. I'll have to read the liner notes!
― Trip Maker, Tuesday, 7 June 2011 12:54 (six years ago) Permalink
― one dis leads to another (ian), Friday, June 3, 2011 1:04 PM (3 weeks ago) Bookmark Suggest Ban Permalink
― Trip Maker, Friday, June 3, 2011 1:07 PM (3 weeks ago) Bookmark
i actually passed on a pretty nice copy of this for this reason!
― 69, Tuesday, 28 June 2011 18:17 (six years ago) Permalink
Has anyone else read his novel? "Quicksand" Came out last year but I just got it last week, finished today. It was really great. But I sorta just love Robert Ashley and reading it in his voice (internally) may help you feel the rhythm of teh prose. also I like mystery stories. there is a lot of interesting stuff in here. like any of his texts. but it's rlly just fantasstic. i cld write pages abt it and my reaction to it and its specific evocative qualities or points of reference or narrative style or or. read it. shirley yer local arty bookstore will have it..
― one dis leads to another (ian), Sunday, 8 April 2012 05:16 (five years ago) Permalink
i bought a robert b parker novel today cuz Ashley notes him as one of his favorites (or, the narrator's favorites.)
― one dis leads to another (ian), Sunday, 8 April 2012 05:17 (five years ago) Permalink
so bummed i missed his performances last year
― sarahell, Sunday, 8 April 2012 08:20 (five years ago) Permalink
three operas performed at la mama in 2009 on vimeo now, complete. free arts!!!!!
― one dis leads to another (ian), Sunday, 8 April 2012 18:14 (five years ago) Permalink
Robert Ashley’s opera “The Old Man Lives in Concrete”
― jed_, Thursday, 26 April 2012 18:48 (five years ago) Permalink
i think it actually opened yesterday?but i am going tonight.
― one dis leads to another (ian), Thursday, 26 April 2012 19:57 (five years ago) Permalink
nice one ian. enjoy.
― jed_, Thursday, 26 April 2012 21:34 (five years ago) Permalink
best part is that it's just a 15 minute walk from my house.
― one dis leads to another (ian), Thursday, 26 April 2012 23:16 (five years ago) Permalink
is the song at about 12 mins till 20 mins in this, a robert ashley song? my googling the lyrics suggests it is.
― ooooiiiioooooooooooooooaaaaaaaaoooooh un - bi - leevable! (LocalGarda), Thursday, 7 June 2012 12:10 (five years ago) Permalink
Yeah that one's a classic"sans ice"
― Ò (Ówen P.), Thursday, 7 June 2012 12:53 (five years ago) Permalink
ah cool... what record is it from?
― ooooiiiioooooooooooooooaaaaaaaaoooooh un - bi - leevable! (LocalGarda), Thursday, 7 June 2012 13:23 (five years ago) Permalink
― one dis leads to another (ian), Thursday, 7 June 2012 14:44 (five years ago) Permalink
I listened to that mix. There's a lot of Robert Ashley in there! Reminds me of a mixtape where someone used pretty much the whole of E2E4.
― mmmm, Thursday, 7 June 2012 14:59 (five years ago) Permalink
that explains why it was so good maybe
― ooooiiiioooooooooooooooaaaaaaaaoooooh un - bi - leevable! (LocalGarda), Thursday, 7 June 2012 15:14 (five years ago) Permalink
he took himself seriouslymotel rooms had lost their punch for him
he opened all his bags there were two and inside those two there were two moreit's not an easy situationbut there was something like abandon in the airthere was something like the feeling of the idea of silk scarves in the airthere was a kind of madness to itthe kind we read about in magazines one of the bags contained a bottle of liquora surer sign of thoughtfulness if at all there might have beenhe poured himself a small drink in a fluted plastic glass sans icehe thought to himself if i were from the big town i would be called debonairethe big town doesnt send its riffraff out
he sat on the bed both feet on the floorhe studied the ashtray and tried to rule out preferencepreferring over not preferringbut he preferredgravity over what other statepreferring in that caseearththe earth as they saypreferring some state over non state
now he grips himself with determination even knowing that it causes sadnesshe is determined to be what?he is determined to be serioushe had determined once to be seriouslater he knew that he had made a mistake but too late he had arrived and there were rooms and all rooms were not the samesome better than others he thoughtbetter viewbetter layoutbetter showersofter bednot so far from noisemore like home etc etcvery abstract
he lifted the telephone from its cradlehis determination got strongerif not clearer even as he had faded in its forcewere it not for our momentum, the inertia of our actions, the constant inspiration of our habits, we could not continuethe will is almost nothing he thought to himself
at the sound of the first ring he hung uphe pushed down the button and listened to the silence of the object in his hand and then he hung upvery dramaticthe phone rang immediately1234567he brings this cloud of conditions with himhe is at the center of a ball of hot stuff that we haven't put our minds to yetand sitting on the bed in the motel room is no differentsomewhere in another room in rangesomebody got it and phoned himit happens all the timereally.
a kind of restlessness at that rangehe sat and thought about obediencehe had resolved, that of the two kinds, the kind that takes every message of order, rule, lawhas errorthat everybody who passes along these messagesthat loathes the buildingsthat contradicts the inner voicethat resists, in short, was histhe other kind,how could it be.
he wasn't happy with the worldhe worked with the forwardness and the backwardnesshe worked with what things are ahead of us and with what things are behind usi guess the other kind would be to work with things that are alongside,the attachments.obedience was impossible for himat the same time he was cooperative and indeed solicitousno one in the world would have mistaken him for a real person(obedience, et cetera)the other kind works with the things that are the alongside usthe attachmentsat the same time he was cooperativethe numbers on the telephonethe parts of the bookthe notes of the scalethey are the same, are they notthey come from the sameness of the idea of the outsidenessnot the alongside the outsidenessthe differentnessit was a problem, being cooperative and refusing obedience, and carrying the load of the idea of differentness
he wantshe handles himself in the morningit's just like for every other manthe fantasy is the distance, the reluctance, the reticence, the othernessthe fantasy is the uncleannessso getting up gets to be a problem for a sensitive person like himthe problem is to run that gauntlet againremove problemremove gauntletremove runremove is toremove theremove thatleave thismake this whatever
he lights the motelroom with the slightly blue body lightwhen he is along he forgets sometimes to walkhe just movessometimes they touch, sometimes they don'tand everything in betweenyes, sometimes he forgets to combine talk with thinkingand just thinksor just talksespecially i think it happens in those rooms, who knows whythe way it disconnects from what's just outside is predictableis it not soit never stops being a mysterywe have talked about it
when he says hello you hear a long whining sound which is his voice and the helloit is as different from whateverthe way one might rememberas the sound a cat might makehe is not unusual in this i thinkhe is absolutely uninhabitablea thankless starremove starremove thanklessremove areplace with he has a special way of speakingbut it seems only to make him more like other menthis is one place and here every kid is armedso where you goinghuhprobably sometimes we don't see the gunssometimes yessometimes nothe town and always references to down and outdown from des moinesup from somewheremissed by chancedidn't even see itthought it was a threat to house and homewhy didn't you come up to the big townno thankslooking backdidnt get the up and down parthow could i have missed it
get a grip on yourself he saidworking against time was another thing he saidhere i am working against time
the pencil fairly flew as he made out his simple requests for breakfastroom service courtesy of the companythis is a recordi am sitting on a bench next to myselfinside of me the words formcome down out of the tree and fight like a mantwo cheese and eggsthis is not a recordthis is a storyi want to say something about myselfi am not sitting on a bench next to myselfwhatever that meansi am a city of habitsi am completely knowable in every wayi recognize superstition in every forman anger of the words makes me in the vein of myselfi imagine there are two men on the benchthe exchange between them will not be seenthey will not put it forth to be seenand if i make something of the situationto show a difference between the two menthe difference will distract the true onlookerbut the film fogs you knowone scene fogsand add a dish of prunes if they are in season
i met her in the park in the small midwestern townthat is, the bench is in the parkwe know from what is past that the men are on the benchthey are old by doctor's standardsthe park graces the courthouse of the countythe courthouse has about it the simple air of failurean abandoned outpostthe park has sidewalks, fences, trees, grass, and a statue of a man and horse at waror ready for warthey are alone with their intentionsthe sculptor has made the horse look stupidthe man's jaw is firmthe time is late morning in early summerthe sun shines
in this scene there are two shotsthe park in all its detailsfrozenbroken on the right edgesometimes up to two thirds across the framceby the body of a personvery closeblurred, moving almost rhythmicallywe have just begun and already we are stuckworking against time as they saythe camera is obsessed with what it seesthe parkthe ragged edgenothing movesexcept the edgethe edge movesit's as if there is no other placehis mind racesone gee in fogstwo gees in eggs
when the two men spokethey spoke about permanence and impermanencethey noted that there were certain things that were impermanent, and other things to which impermanence did not applythus they came to make a great division between that which is impermanent and that which is permanenteverything in this transitory category turned out to be the particulars of our existenceand these were divided into physical, mental, and others which were neither physical nor mentalamong those particulars which were neither physical nor mentalthey listed attainment, aging, and coincidenceon the permanent side of this great division of reality was a notion they referred to as spaceand by that term they meant neither conceptual spacenor space as given by our sensesthey meant connectionsthey decided that such space is irreduceable and not transitoryand that it exists as long as one is alive.they wonderednaturallywhat becomes of it.this impasse is no help at allconsider his situation:for instancehe is expected to be positive and helpful about breakfastin the order of things, it is more important that she know about the prunes then that the shot should changeand what about the problems we have seenhe is still seated on the bed both feet on the floorthe small drink in the fluted plastic glass sans ice is hardly touchedthe phone has just stopped ringingin his mind the two men are frozen on the benchthe horse looks stupidthe warrior's jaw is firmincredibly slowly our view begins to slidehis idea is that death always takes one by surprisealways.there is no way to preparehe imagines absolute awareness on the other sidehe wonders as we all do how it comes to you that you are deadwe were distracted by the fluid right edgethere is an absoluteness to surprise, he thinkshe applies this simple thought to the problem of how to move the shotincredibly slowly our view begins to slidebegins is a problemwe are enchanted by the park and all its detailsfrozen, broken on the right edge by the body of the person, very closethe blur, moving rhythmicallyhow can it begin to changehow can the beginning go unnoticedhow can we pass from one state to anotheris it possible, if one already has a certain experience of life, to start directly on the pathor is there danger involved in trying to do advanced practices without having the proper foundationthey came to believe that, unless one has actually gone through the preliminary experiences, conclusions may be drawn on the basis of insufficient informationand that these conclusions may produce effects just the opposite of the one which is intendedin other words, one never knowsand so the view begins to slide, anyway as they sayslide eastwardturning eastwardthe particulars moving left or right across the framea parade of sortsand it comes to rest, finally,on the roadthe street that holds the parkwe are still obsessedwe are not relieved
this view is no differenthow could it beexcept that we have moved off the body of the person very close and blurredand every edge is rawand there is some machine approachingwider than it is highas they saya pack of motorcyclesa herd of elephantsa tribe of bedouinssomething from the eastbarely moving in a cloud of haze and heat and dustin utmost telephotogold and green and flat the idea of the slitthe eye of the needle
--The Park, Robert Ashley
― jed_, Friday, 24 August 2012 21:58 (five years ago) Permalink
there are some mistakes there, but still. good to see it written down. i didn't write it.
― jed_, Friday, 24 August 2012 22:06 (five years ago) Permalink
there are quite a lot of mistakes.the pencil fairly flew as he made his corrections. (which maybe i will do at some point)
― jed_, Friday, 24 August 2012 22:10 (five years ago) Permalink
He's in London next month.
― xyzzzz__, Friday, 24 August 2012 22:16 (five years ago) Permalink
i did a transcription of 'the backyard' one night
― half-worm inchworm tapeworm (donna rouge), Friday, 24 August 2012 22:17 (five years ago) Permalink
he is? so am xyzzzz_, what are the dates?
donna, post it!
― jed_, Friday, 24 August 2012 22:18 (five years ago) Permalink
28/29/30. i am so there if teaching doesn't ruin it for me. i only listened to 'private parts' from ian's poll a short while back and it killed me, and has spiralled out into obsession.
― emo mcgee vs ricky hitler (Merdeyeux), Friday, 24 August 2012 22:22 (five years ago) Permalink
it does that!!!!
it makes for an incredibly strange running soundtrack. i use it for that probably far too often.
― jed_, Friday, 24 August 2012 22:24 (five years ago) Permalink