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Post della categoria chicagoan.

USAnet

We all know (and many of us dislike) that in some countries there is a different Internet: the Chinese, for example, or Iranians don’t see what we see, and if they search for sensitive words (such as the name of dissidents in China) they get different results. What I hadn’t realized is that, while in the States, I also saw a different web:

It isn’t just Hulu: Amazon won’t sell you Mp3 files, and Newegg will let you buy nothing – unless you’re in USA. I can see Hulu’s point, much less Amazon’s (certainly inspired by RIAA and the Major record labels): I might be bothered by this restriction, but the average internet user (and music fan) will simply close their browser and open Emule, or Limewire…

Dynamite Woman


Koko Taylor
(1928 – 2009)

Sweet Home Chicago Blues

chimrqIt’s finally time to go, leave Chicago and head back to Europe. I’m sad: I loved it here, I had fun, I met great people, I learned a whole lot of stuff, I produced interesting work and I have reasons to believe I helped others produce some more. All this wouldn’t have been possible without the cooperation of a number of persons whom I’d like to name here – bear with me:

SAIC: all professors, faculty and staff who put up with my lack of academic experience and helped me to do a good job. All my undergrad students in both classes, talented and smart folks who made exciting for me to go to class. My graduate advisees Morgan Gliedman, Ye Mimi (Chiao-Hsiang Lin), Shirin Mozaffari, Beau C. & Lily R. Sage and Carolyna Weath: all great souls, fantastic artists and now good friends. The grad students and alumni whose work I’ve seen, sometimes critiqued and often loved, and especially (in no particular order): Oli Rodriguez, Stephanie Burke, Dave Murray, Steve Daly, Jessica Hyatt, Alan Strathmann, Elise Goldstein, Ting Xu, David Lakein, Daniel Everett. My T.A. Bret Petersen, who indeed went beyond the call of duty. Daniel Dietzer, Karina Natis and the NY Armory Show expedition crew. The Parlor Room Lectures Committee. Razvan Botea, who filmed the Realcore performance at the Columbus Auditorium and gave me a copy of the raw footage. Rob Drinkwater and Lou Mallozzi at the Sound Department. Bruce Jenkins, Lisa Wainwright and of course the person who originally thought I could do all this, the fabulous Barbara DeGenevieve: thank you, it was a blast.

John Thompson, who gave me some crucial tips on this city and took me to very cool places.

Claudia Hart & Kurt Hentschlager, welcoming and kind folks.

The Swimming Pool Project Space, Liz Nielsen and Josh Kozuh, for hosting the Boleros live premiere, and Tom Mamola for the PA system.

Clarisse Thorn, Teri & Kevin and everyone @ the Pleasure Salon: such a welcoming, nice and sophisticated bunch of perverts ;)

Yana, Luca, Nicola & Matteo for making my stay in L.A. absolutely unforgettable.

Everyone at IED Milano for putting up with my disappearance with a smile, and especially Rossella Bertolazzi, Painé Cuadrelli and Federica Colombo.

Harold’s Chicken Shack on south Wabash, Zemsky’s family clothing store (south side rules!) and Sears (whatever happened to Roebuck). Plus of course the city of Chicago: friendly, funny, scary and endlessly marvelous. I’ll miss you.

Typephase a go go

hungapic

More music (less talk! was the slogan of Kiss FM NYC in the 80s: kind of hard knowing me). This time I’ve rechewed Johannes Brahms’ Hungarian Dance #5 using a slightly different method: the first 16 bars are repeated in a canon. But each new repetition begins after 10 bars, so the canon quickly deranges into an Hungarian Peyote cult ceremony.

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Hungarian Phase (for six sextets)
(rightclick to download)

My kind of party

Here are the lyrics to Wang Dang Doodle, a song written by Willie Dixon for Howlin’ Wolf (and subsequently covered by just about everyone, including PJ Harvey, ZZ Top and the sublime Koko Taylor):

Tell Automatic Slim , tell Razor Totin’ Jim
Tell Butcher Knife Totin’ Annie, tell Fast Talking Fanny
We gonna pitch a ball, down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Kudu-Crawlin’ Red, tell Abyssinian Ned
Tell ol’ Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows,
We gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time
When the fish scent fill the air, there’ll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Now, I’m not sure what Dixon exactly meant with Wang Dang Doodle, but I’m ready to pitch one all night long anytime, along with Abyssinian Ned, Butcher Knife Totin’ Annie and Fast Talking Fanny.

Sensual Musicology

I wrote a statement for Boleros, about reclaiming musicology. It’s here.

More video, violins and flowers

Here’s another video I had been wanting to do for a while, with the ultrasexy Redouté roses. I call it Into Roses, and it’s easy to see why. Watch out: this video might make you dizzy. The music is also mine, I made it in 2000 (using violin samples by Alexander Balanescu, created for an altogether different project we did then), and although I really like it, it never found its way to the public: here it is.

Boleros live in Chicago

Don’t forget tomorrow, may 15th, Boleros live (with a 4 way speaker system) at the Swimming Pool Project Space here in Chicago. First run at 7:30 PM, second run at 9, free entrance.

Besler Clip

Here’s a little music video I made for my piece Réjouissance Phase. It features the amazing flower engravings by Basilius Besler.

HypnoHändel


This is a very good musical year for me. I’ve just finished the first version of Boleros (more infos and an excerpt here), which I submitted to the Prix Ars electronica (if you have a God, pray for me: it’d be really cool to get a Nica) and will present live in May, here in Chicago. What’s more, I’m developing a series of related pieces, using a different technique but a similar approach. I called this series Typephase, and the first piece is the answer to a question: what happens if I overlap nine copies of Händel’s La Réjouissance slightly phased? You can hear the result (remarkably Reichian, as in Steve Reich) on the Typephase page.