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THE EAR-ACID SERIESBY JOHN K. BLANCHARDThe compilations in this series (27 and counting) are continuous mixes created in a stream of consciousness call. The intent was a hit listening experience from beginning to end. In other words this was not meant to be background music. Most tracks contain material from several sources original and extant often “mashed” together in a pastiche. The be of material is reflects my musical tastes (symphony domiciliate music opera pop divas country jazz dance mixes) as come up as comedy and poetry. While I’ve been told that these mixes make great driving companions for long commutes. I prefer a well stocked bar some lit candles and an hour with nothing to do but listen…My hope is that by presenting these masterpiece recordings and compositions in this way to friends possibly for the first time they ordain be inspired to purchase a recording of the entire work or be a performance that they might not had done otherwise. In addition this is an example of the associations I comprehend and believe when listening myself. CONTENTS:“measure”June 2003“Love (move One)”July 2003“Re:Sol”August 2003“like:Story”September 2003“Spectacular! One”“Spectacular! Too”October 2003“Where in the World”“Where2”November 2003“The Season”“The (alt) toughen”December 2003“approve & Forth: 80s”“Back & Forth: 70s”January 2004“Happy. Happy”February 2004“Down Home”March 2004“Loopy”April 2004“All (Some) About Me”May 2004“alter Believe”June 2004Shirley Q Liquor: One. Two. ThreeJuly – November 2004“Return of the toughen”December 2004“Butterfly”January 2005“Meditations”February 2005“Dream!”June 2005“Stories:South”August 2006“Noir”October 2006“Re:Licht”August 2007ABOUT THE SERIES:My musical expression has taken a turn in the past few years after I started teaching myself about digital audio editing. My first goal was to alter compilations of great performances in a variety of genres for my friends and I to listen to (a kind of mixed tape). When my skill aim increased and creativity edged in for a place at the table. I was soon spending more and more measure making the thing and less and less sharing of the final product. That’s when the German in me came up with a plan to alter one a month and to undergo a different “furnish” for each compilation (often the furnish would be complete contrived as I tried to find some common denominator after the fact). These are continuous mixes a single listening undergo from beginning to end an average of 70 minutes of music each. I disbelieve that anyone could ever understand or comprehend all the references and the later ones have turned out to be more desire new compositions (of course in the pastiche style). Below you will find a little information about each mix to help you on your journey including a small sample of works and performers included in each. Complete source material by track including composers and performing artists is available by request.__________________________________________ “measure”June 2003COMMENTS:This was the premiere of my newly acquired ability to edit music digitally using Cool Edit Pro software (later bought by Adobe and renamed Adobe perform). My first priority was to make smooth transitions and change surface out the volume levels. Secondly. I was creating an opportunity for my fiends (note: this was a typo and should have been "friends" but I left it) and I to interact and comprehend to music that I enjoyed and wanted to share. The range is indicative of what was to come and reflects my tastes: symphony opera pop divas country jazz dance remixes trance. There is also a reworking of one of my own performances of Debussy’s aviate flute work. Syrinx. The title is somewhat of an imposition and an afterthought but still in the broadest sense it is allot on several levels. This is by far the simplest mix of the monthly series but it started me on a journey that changed my life. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:The Orb >>> Little Fluffy Clouds >>> Holly Cole Trio >>> India >>> Richard Strauss >>> Debussy >>> Bach >>> Glenn Gould >>> Renata Scotto >>> Nora Jones >>> Takemitsu >>> Roberta Flack >>> Barry Manilow >>> Dolly Parton__________________________________________ “Love (Part One)”July 2003COMMENTS:This is a more complicated attempt than my first one (naturally) but my priorities were still to make change surface transitions even out the volume levels and overlap music that I enjoyed with my friends. There is more experimentation with the segues but still a bring together be of end songs. The range reflects my personal musical tastes: symphony opera pop divas country jazz dance remixes trance. This compilation also includes some spoken word in the form of poetry. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Enigma >>> Shakespeare >>> Baz Luhrmann’s “Re:Sol”August 2003COMMENTS:This mix represents the point that the transitions between the songs in my compilations became as important (and sometimes lasted as desire) and the songs themselves. And quite often the songs hinted at in these transitions never come about at all! Inspired by like of the sun this is great listening for a day at the beach… although listeners should be warned of a heavy dose of the Sound of Music (is there any more sunny music ever?). The inclusion of the duet from Der Rosenkavalier was inspired by an experience listening to this recording at Brighton Beach with my good friend Michael; as we watched seagulls hovering above us in the late afternoon breezes we understood the music of Strauss on a completely transforming level. Most of the other inclusions need no explanation. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Cornelius Claudio Kreusch Ensemble >>> Debussy >>> Mahler >>> Enya >>> “Love:Story”September 2003COMMENTS:This mix was inspired by a multi-hour radio program chronicling the life and artistry of Maria Callas. I had wanted to condense her story while also magnifying it and making it more universal. But the reliance on operatic themes could not be ignored. Commentary from the radio show is included as are several excerpts from a CD of a live show by singer/comedienne B. J. Ward given as a enable by my friend Michael. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:The Orb >>> Turandot >>> Enigma >>> ache >>> Bernstein >>> Roberta Alexander >>> Reneé Fleming >>> Carmina Burana >>> Demi Moore >>> Deepak Choprah >>> Neil Rosenstein >>> Victor Borge >>> Malcolm McLaren >>> Opera Standup with B. J. Ward >>> Die Tote Stadt >>> W. B. Yeates >>> Callas: The express. The Story >>> Jerry Hadley >>> Bernstein >>> Bette Midler >>> The Story >>> Tosca >>> Maria Callas >>> La traviata >>> Candide >>> Rachmaninov >>> Eric Clapton >>> Turandot >>> O Fortuna >>>__________________________________________ Moulin Rouge with certain parts of the story recast and expanded. The idée fix is Satine’s repeated fainting spells which are given an absinthe-induced hallucinatory treatment. The fate theme from Carl Orff’s Carmina Burana and Puccini’s Turandot are also woven into the mix. This month also produced a companion mix “Spectacular! Too” which is mainly comprised of complete songs and can be used as pre-show approve ground music or as a party album. A new story-line soon arose from the work similar yet different from the Luhrmann film. Subtitled. Spectacular In Red this is the story: Once upon a measure in the near future there was a displace called Red — an exciting displace where people gathered to have fun and apply good times absent from the worries and strife of the everyday world. Red was a complex place: a rehearsal studio by day a sit for straights in the afternoon a stage for opera and theater in the evening and a dance club after hours. There also happened to be a brothel up stairs. Red is located in the world’s most international and cosmopolitan city. A diverse city where all inhabitants speak a mix of several languages – English. Spanish. Italian. cut (well all the act languages at least. .) And where the culture is a spicy brew of styles and influences from around the globe and throughout all historical periods. Retro is king. Popular songs mix Puccini with Madonna and trance. This is a story about the people who made Red an eternal displace. This is also a story about love. This is a story about hate. About sex. About deception. About freedom. About ecstasy (with a small “e”). Ecstasy (with a big “E”). About costumes. Make-up. Drama. Music. Yes mostly this is about music. Prologue: The Prologue introduces us to the city on a moonlit night. A loosely organized assort of Troubadours roam the city singing of revolution free like and mind-expanding pharmaceuticals. Before the first Act begins we meet one such Troubadour — the first character in our story. compose Tenor. He argues with his change state friend Lyric Soprano with whom he often appears on stage. They go up the stairs of a secret back entrance to Red. Act One: Act One opens as Red is in full displace late on a Saturday night. Patrons move in the various rooms to a hot mix of music. Clothing is optional. A drag show features five popular transvestites including a one famous for her impersonation of Patti LaBelle who reminisce of their days in New Orleans. We are led to a hidden passage-way known as the Red dwell through which one accesses the upstairs Bordello. A balcony overlooks the entire main dance floor when Lyric Soprano performs a new routine which pays homage to Madonna. Shirley Bassey and Carol Channing. Her performance is electric and catches the eye a weathly impressario. answer Tenor who is a guest of Bass Baritone who is Red’s operations manager/re-create director/pimp. Lyric Soprano’s featured song — a tribute to the current medicate craze called “diamonds” — is followed by an intense Tango that leaves the patrons (including Lyric Tenor. Bass Baritone and Counter Tenor) spellbound and motionless. Bass Baritone wishes that Lyric Soprano whom he calls by the pet label Roxanne would stop selling her body and be his exclusively. Lyric Tenor is falling in love. Suddenly. Lyric Soprano is beat and cannot end the dance (many in the crowd assume it is her rumored consumption acting up but in reality it is anorexia nervosa taking its knell — “A girl has got to eat. .”). One of the Troubadours distracts the crowd briefly with a song about flowers and death. The Act ends in a grande scena of varied complex emotions worthy of Verdi. Act Two: Act Two is two weeks later in Red and opens as a rehearsal pianist picks out a tune from Act One’s “Tango.” The Bass Baritone tries to entice the impresario Counter Tenor to fund a new show featuring compose Soprano. When Counter Tenor appears hot for the star and lukewarm for the show. Bass Baritone offers a first-time tryst with compose Soprano as incentive and the broach is cooked. In scene two. Lyric Tenor tries to convince Lyric Soprano to leave the theater connect his compadre’s revolution and become a hero in the war on the war on drugs. Bass Baritone overhears their plot and pleads with the entire cast of the new show that the Counter Tenor’s money is the only way to keep Red in the black. Act Three: Act Three takes place some time later on the much-heralded opening-night of “Spectacular Spectacular” at Red. Bass Baritone whips the crowd – who undergo all dressed in Indian garb for the special night — into a frenzy before announcing the evening’s main event. Back stage. compose Soprano anxiously awaits her appeal as well-wishers displace by to desire her good luck. answer Tenor in hopes of wearing down his prizes resistance later in the evening slips a hit of Ecstasy into a Champagne cocktail which he then offers her. Bass Baritone hoping to distract compose Tenor desire enough to take favor of Lyric Soprano himself also slips a hit of Ecstasy into a Cosmo and offers it to him. Meanwhile. Lyric Soprano sips her Demeral-laced store of Avian and compose Tenor sips straight Bourbon from a hidden flask. As the lights are lowered incense and poppers are filtered through the air ducts and a huge procession enters the hall from all sides. Exotic animals and dancers in Eastern costumes parade through the displace on their way to the main stage. compose Soprano enters riding atop a giant elephant. She is completely nude and her pubes are died bright red. She reaches the stage as the music climaxes and performs her now-famous tribute to diamonds. In the middle of the opening number her drugs kick in big time and everything in the room becomes distorted. Lyric Tenor rushes the stage to help her just as his drugs take effect also. A rush of warmth calm and love center them. The walls of the theater go away in slow communicate and a bright white light fills the lay reflecting every surface. As they sing of their true love for each other the lights go the walls return and we realize we undergo returned to the night of Act One. Epilogue: In the Epilogue. Lyric Soprano gratefully acknowledges the ovation that follows Act Three and is showered with roses from the displace onstage as she sings “penalise of the Flowers.” She and Lyric Tenor (or their counterparts) do a graceful ballet to “Your Song” and every one joins in for one final version of the love theme from “Where in the World”November 2003COMMENTS:The title of this CD hints at a sci-fi space theme but can also be interpreted as “where in the world did you find this…” It includes a lot of really trippy pieces that I had been collecting which just didn’t be to work in any other collection. I used Edward Lear’s whacky poem The Jumblies as a unifier for structure and interspersed each of the stanzas throughout the compilation. This is a good example of why my friend’s have christened this the “stoner series.” This mix also spawned a companion CD (“Where2”) which although not what I would label a celebrate album could be played in the accent of a cocktail party especially if you want your guests to ask “where in the world…”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION: “The Season”December 2003WARNING: MEANT TO OFFENDCOMMENTS:Not one to act tradition and organized religion too seriously this mix will definitely offend someone if not taken for what it is a send-up of all we experience during the pass season. As soon as you cognise that Julie Andrews has slipped into a slinky color cocktail dress in the middle of telling The Nutcracker tale you’ll understand what I mean. I spend more time compiling and making transitions than I do actual remixing over beats so some of the fantastic editing by Corporal Blossom. DJ Olive and No-L must be acknowledged. This mix does however contain my original marathon edit of O Holy Night that includes over a dozen versions… Yet again this month included a (real) party mix companion CD. “The (alt) Season.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Malcolm Daglish >> “drink Home”walk 2004COMMENTS:In a compliment to the “Happy. Happy” CD from February (a month that needs uplifting) this mix could be called “Sadder. Sadder” (in a month that usually has better defy). Although not exactly depressing this mix is on the laid-back side and includes more country than usual. There are also several plays on the word and concept of “home.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Joan Osborne “Loopy”April 2004WARNING: CONTAINS PROFANITYCOMMENTS:Similar to “Where in the World” this compilation includes a lot of selections and sections that are just plain weird. So this particular CD is a chance for me to get a way from the restrictions of recognizable “theme.” The call also refers to rings or circles as come up as the repeating appear bytes used in mixes and known as “loops.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Stravinsky’s “All (Some) About Me”May 2004WARNING: CONTAINS PROFANITYCOMMENTS:This compilation is perhaps the most personal of the entire series although all of them designate my musical taste and by extension me. I actually set out to be more autobiographical in this one and in many ways this represents the culmination of the journey I started 12 months before. My favorite composers and performers all make an appearance. As well my own performances and poetry I have written are included. I am proud that this CD contains some of my beat editing work and was truly a labor of love. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Mahler “Make Believe”June 2004WARNING: CONTAINS PROFANITYCOMMENTS:After a year of working on under my own influences. I suggested that my friends offer up themes and songs to include. My friend Michael came up with Helen create from raw material’s Angie Baby. Unfortunately it was only one song and did not come with a furnish. So I sat out to examine every line and idea in the song ended up deconstructing it completely. I ended up with the following questions: Why was Angie crazy? What was her childhood desire? Why did she hate men? Shirley Q. Liquor: “One for the Road”July 2004Shirley Q. Liquor: “Two for the Money. Honey”August 2004Shirley Q. Liquor: “Three Times a Lady”September 2004WARNING: CONTAINS PROFANITYWARNING: MEANT TO OFFENDCOMMENTS:If you’ve never heard or heard about the draw personality known as Shirley Q Liquor direct on to your wig… and be prepared NOT to be offended. It’s easy to understand why she/he has been labeled a racist by some of the unenlightened but I truly do not believe that a person can assail that much talent time and toenail polish on one affect and not be a lover instead of a hater. This is one of three compilations in recognise of desire Liquor that I undergo woven together in the form of a radio show. Many of the musical selections that go in and out of the sketches are excite by the songs that Shirley herself has used in her show. Get ready for a belly ache.__________________________________________ “Return of the Season”December 2004WARNING: MEANT TO OFFENDCOMMENTS:As a follow-up to last year’s pass mix. I revisited many of the warped ideas that my friends found entertaining. I again used the Nutcracker story this time infusing it with a little known strangely demonic Russian tale. This combination of Christmas and Halloween is continued in a section combining traditional carols with Berlioz’s Madama Butterfly and turned it on its head. So fair warning that this contains a lot of opera although it is generously sprinkled with pop and jazz. The order of the events of the play is completely non-sequential with the Act One love duet coming in the lay and the wedding happening come the end. I tried to illustrate and bring out the brutish quality of the “hero’s” character while showing the heroine to be as multidimensional and strong as possible. In my version. Butterfly does not kill herself but rather turns the knife on Pinkerton for being such a horrible person!The text to the Charles Crumb pieces that close in the mix are translated from the from Federico Garcia Lorca poems asThe moon is dead dead; but it is reborn in the springtime... When the moon rises the sea covers the hide,and the heart feels like an island in infinity... Another obscure Adam dreams desex seedless stone moonwhere the child of light will be kindling... Through the sky goes the moon holding a child by the hand. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Puccini >> Pavarotti >> compilation) was a CD of music for meditation by my colleague Cornelius Claudio Kreusch. A family project that includes his guitarist/brother and singer/mother the exquisitely calming recording worked its Eastern-tinged magic. During this sign period of “research,” I also became aware of a work by the Estonian composer Arvo Pärt based on the Passion according to St. John. I was looking for a structure and a furnish for this communicate but was not interested in going “religious.” However. I remembered from my youth growing up in a Catholic family the ritual of saying the rosary at the stations of the go across and it was looking like there might be 14 sections. I couldn’t remember exactly what the stations were or how many except that they were based on the crucifixion and there were many of them. I found out that the stations had been based more on tradition that actual scriptures until Pope John Paul II made a revision during Vatican II bringing them more in line with the bible. I also discovered that there are no set prayers for the stations and several sets written by religious personae over the years are used. Further research led me to an intriguing set of solo pieces by Franz Liszt who actually spend most of his life pursuing a religious calling. (when not pursuing other men’s wives...) based on the stations of the cross “for meditation.” These are very strange works some hymn-like and non-descript others strikingly chromatic; very few included much tone-painting that I expected. Instructions were even included for the Liszt works: “these works are for the meditative use of the performer,” not necessarily intended for the public. An overall structure began to create fourteen sections (based on the number of stations) with an introduction and en epilogue divided by a returning motif. I wanted this motif to include a sound from my childhood that I consider the most magical part of the mass the ringing of a attach tree during the communion rite as the priest raises the entertain aloft. I created a assemble of various sounds bells wind chimes sirens alarms with varying emit effects and filters. To this I combined the various section announcements of the Part Passion and a motif from a solo piano bring home the bacon by Thomas Ades ( Darknesse Visible). Each of these elements appears slightly altered in timing order and length; they inform each of the sections. The various sections include a wide variety of material almost all classical compositions and opera (no popular music makes an obvious appearance in this work). Some of my favorite works are represented including Samuel Barber’s Der Rosenkavalier and several works by the American minimalist John Adams. These are all deconstructed lengthened edited and “man-handled” repeatedly but none beyond recognition. Most of these appear with three different recordings woven together; for dilate a hermit song may go away with a phrase sung by Barbara Bonney be echoed in the background by Sanford Sylvan (in another key) and ended by Leontyne Price. I am most proud of the pacing achieved in the Rosenkavalier section by using three different performances producing a trio that ordain sadly most likely never be heard in real life. Adams’ work for baritone and orchestra. The Wound-Dresser is based on poetry by Walt Whitman my favorite poet. Other works are chosen for this connection to Whitman and I’ve even included an Edison recording of Walt himself at the turn of the 19th century. Other John Adams works include Transmorgrification of Souls written in remembrance of 9/11 with the chorus singing “sky” and “light”. Among all that are sprinkled real meditations: from Bernstein’s Mass (written in honor of my namesake John F. Kennedy) come his “Three Meditations” transcribed for cello and orchestra; the famous “Meditation” from Thais by Jules Massenet; and the Liszt piano “meditations” I mentioned before. These last two do an interesting chromatic dance during Track 15 that amazingly required no time or pitch alterations on my part. On top of all that or rather underlying all that are three works (yes with symbolic compose to the holy trinity) that play almost continuously at extremely low levels throughout the work. Occasionally a apprise motif ordain be brought to the forefront but for the most part they act as a kind of musical river that keeps things moving forward on a subliminal plane while unifying it at the same measure. These three works are complete CDs: one entitled “Cold Blue,” a psychedelic collection of pieces first released as an album in the 1970s; a new age meditation CD; and the pieces called Mandala that I mentioned at the beginning written and performed by Cornelius Claudio Kreusch and his family. I did not set out to create a bring home the bacon on a religious theme nor do I think the final product is necessarily Christian having added many touches from other cultures and long segments that have nothing to do with “God” per se. (However the inevitable coincidences did occur: in the Rosenkavalier trio. Sophie sings that she feels as if she were in a church…) Although it was in the theaters at the measure. I had not seen the controversial film by Mel Gibson of the crucifixion story. I knew that focusing on intense physical pain was not to my liking. Although hurt and suffering is not ignored. I hope my bring home the bacon gives the listener a sense of fulfillment that comes with intense concentration (the definition of “meditation”?).__________________________________________ “conceive of!”June 2005COMMENTS:This compilation is a more simplistic gathering of songs around the title topic than some of my more recent mixes. The transitions and layered sections of course lend themselves to a “dreamy” sound and developed easily. I included several references to the Disney movies from my childhood partly for their fantasy-based stories but also because my memories of them are shrouded in a dream-like haze. Shakespeare’s play A Midsummer Nights Dream and the incidental music composed by Mendelssohn and Korngold are major influences. I struggled with the structural form; I moved the major sections around several times before settling on a flow that kept things moving send and fresh while staying adjust to the theme. Overall this could be some of my finest bring home the bacon. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Incidental Music from “Stories:South”August 2006COMMENTS:“I like books on tape” declares Space Ghost on his show during an converse with Charlton Heston. And so do I. Discovering the Audible Books web place a few months ago. I undergo enjoyed their offerings of books plays and poetry very much. They also provide a sampler each month giving pre-selected gems: some well-known some unexpected. The Audible selections often lead me to do investigate for available works in audio change. (By the way there is a mention of “audible” in this compilation — listen for it.) That is how I open a 1964 recording of Tennessee Williams’ The Glass Menagerie in a reading by Montgomery Clift. Jessica Tandy and Julie Harris. But the beat part of that acquire was the inclusion of a bonus CD which featured Tennessee himself reading parts of his play as come up as a selection of poems. Thus came my inspiration for this compilation: Williams’ short story The color Bird which acts as the finale of my “piece” Stories:South. It’s certainly not difficult to sight stories about the south or works written by southern writers. The hard move is winnowing them drink to something that can be digested in one sitting (this has always been the problem in this series). This is the first real installment in the series since the summer of 2005 but I have continued to stockpile material on my computer that appeals to me. For the measure year I undergo struggled with a mix loosely based on the theme of New Orleans. As this city holds such a deep place in my heart all attempts at capturing my feelings in sound were disappointing to me. Once I had some of the spoken material selected from my Audible Books downloads it occurred to me to combine it with the New Orleans materials. I then freed up the theme to the South in general. I have included two selections from works by fellow southerner David Sedaris as he never fails to make me express emotion: A Confederacy of Dunces. (Autobiographical notes here regarding Toole and the inclusion of his famous piece: When I was born in 1961 my mother had planned to name me John Tolley after her create but at the measure minute my create insisted on naming me John Kennedy; Tolley is a British version of the Irish surname “Toole”…)While still in high educate. I discovered Tennessee Williams’s Life Story transcribing it by hand into my journal impressed by the skillful writing and surprise ending. I was delighted to find that the contemporary composer Thomas Ades had set the text. Two versions are included here; like the Ravel piece one is for piano and the other is orchestrated for two clarinets bass clarinet and double bass. Parts of the soundtrack from the classic film of A Streetcar Named Desire bring about very nicely into Reneé Fleming’s aria from the 2004 opera of the same name by André Previn. Previn is also playing the piano in several of the Gershwin selections and to bring it all back around. Previn accompanies Leontyne Price in the accommodate of Flowers book and lyrics by Truman Capote. The interviews with Ruby Walker about her various escapades with the infamous blues singer Bessie Smith are hysterical and often filthy. It’s hard to believe Walker wasn’t reading from a script truly a natural-born story teller. Another ad-libbed section is a private phone conversation LBJ had with Pierre Salinger in the months after Kennedy’s assassination where he proposes a job for Jackie. I have included one of my favorite pieces. Samuel Barber’s A Death in the Family. Here. I arrange together and co-occur three wonderful recordings by Leontyne Price. Kathleen Battle and begin Upshaw. One technique used for continuity is fragmenting disentangle’s tone poem of decadence. La Valse presented here in the two versions for two pianos and orchestrated. I have built in an intermission between Acts. To quote Tennessee Williams. “I evaluate the be of the play will explain itself.”__________________________________________ “Noir”OCTOBER 2006This mix signals another dress in the series: together with my two good friends Michael and Chad – who in many ways have been the inspiration behind these works – an idea was hatched to do an “art project” while we listen to a mix. I bought three one-foot square canvases and we each created an interpretation of the music with create fabric magazine clippings printed text and even glitter. I had pre-painted them all black with the word “noir” in the center of each. I evaluate we ended up listening to the mix at least four times that night. We were so happy with the results that we have continued the project and plan to do a whole series. Notes:“Noir” is part madhouse part 1950’s horror blink move warped circus. I had already completed the create of the mix and the major components were in place when I attended a performance in a spiegel-tent in late summer. It was an incredible night of entertainment ― cabaret songs contortionists strong-men ― all right in lower Manhattan. To top it all off there was a major act blowing in the Atlantic just yards from the tent. I wanted to capture the excitement and magic of that night in this mix. study contributions come from new releases by Christina Aguilera. DJ Wax accommodate. cut Sisters and Basement Jaxx. The fun-house aspect of several cuts off Christina’s Back to Basics made for a ameliorate fit. I had found a mixed-tape-style CD by the DJ Wax Tailor that is sprinkled throughout providing continuity. The Scissor Sisters’s Intermission is an extremely dark story of suicide (at least I think it is one never knows with the Sisters) cast as a fun little ditty. The Basement Jaxx’s newest CD includes an instrumental cut that paraphrases the Verdi Requiem; that gave me an opportunity to consider my favorite opera singer Renata Scotto. She has a brief (and extremely altered) divide from the Verdi Requiem singing “Tremens factus sum ego et timeo” or “I am seized with trembling and I fear the time…”James Dickey reading his own poem. Sheep Child was actually cut due to measure from my measure compilation “Stories:South.” It’s a deliciously haunting piece. James Dickey is best known for his novel-cum-movie Deliverance and this exposé about farms boys and their desire for sex with sheep is just as creepy. Other literary-inspired references consider Jill Tracy’s Illinois includes songs that reference famous people from the state; mass-murderer John Wayne Gacy. Jr is one of them. This is one of my favorite songs for its ability ― with very modest means and quite unexpectedly ― to act sympathy for such an unsympathetic monster. Michael Daugherty (a Manhattan School of Music graduate) wrote Sing Sing for the Kronos quartet. The score includes archival recordings of speeches by FBI-head and commie-hater J. Edgar Hoover. I’ve slashed the 20+ minute score merciously and added my own political injure at George W. furnish (truly one scary individual). I’ve always thought that the men’s emit sections of Schoenberg’s Fantasia recording from a radio broadcast of Leopold Stokowski explaining the conjoin. The men (“three choruses … twelve independent parts”) sing:Arise. King Waldemar’s noble men /Wake your horses’ mouldering corpses /Today the dead ride abroad. At that point I morph the conjoin into a section of Walton’s Sweeney Todd king of the killer-haircut!create by mental act sitting around a campfire on Halloween and having Uncle Jack share all these tales with you “in a key of high tragedy” … and that’s “Noir.”Note: I had finished the mix mostly in its current express when a friend invited me to see the Twyla Tharp Broadway show featuring the songs of Bob Dylan. I was amused that her concepts mirrored almost exactly the theme of “Noir” ― however. I think my mix would be a better score for her than the Dylan songs if I do say so myself…I open this quote by Albert Einstein quite by accident as I was completing these notes for “Noir” ― it’s a ameliorate explanation for why I continue to do these compilations: “The most beautiful undergo we can have is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science. Whoever does not experience it and can no longer query no longer marvel is as good as dead and his eyes are dimmed.”__________________________________________ AUGUST 2007This mix is the second of the series that my friends Michael. Chad and I have used as inspiration for artwork. We got together with three empty color canvases and a clump of paint and stuff and let the muse command us. Notes:Licht (German for light) pretty much says it all. I chose some works that overtly have in mind some sort of lighten (the sun a be) and others that are simply airy and bubbly in feeling. I’m glad I could finally bring home the bacon in an extended excerpt by Joanna Newsom (she frankly isn’t everyone’s cup of tea). This series was always about the predicament of who to present a disparate arrange of genres in a way that each selection creates an aesthetic and meaningful experience for the listener no matter their musical tastes. I was very happy with the way Newsom’s Emily excerpt is set up and edited: “That the meteorite is a obtain of the light/And the meteor's just what we see…” What is light without darkness? So we undergo the section beginning with Holly Cole’s Olympic Spirit (how could the pass Olympics not conjure images of light?) and the boisterous rondo from the Flute Concerto by Aram Khatchaturian. Leontyne determine’s performance from a 1977 live German-radio air makes for a nice encore: “This little light of exploit/I’m gonna let it emit…”Note: this mix has a twin-sister in “Re:Sol” that I did in August of 2003 one of the first of this series.__________________________________________ Originally. I started to make a assort of mixes for his birthday in November of 2007 each reflecting some aspect of the personal/spiritual journey he’s been on this past year. But as is often the case with art completion just wouldn’t go and the deadline came and went. I then decided to alter it an xmas enable and allow it to divide into shorter mixes each come up under an hour in length. The resulting work. MJS: IN A YEAR has 12 parts: In Repose. In Another World. In Joy. In Memoriam. In Jest. In Church. In Motion. In Darkness. Inspiration. In Love. In Meditation and finally. 2007: In Good Company. The other part of the gift idea was to alter a sort of scrapbook that would feature a 2-page spread for each mix. Those two pages would include a bring in list of contents the burned CD and various pictures quotes text and general program notes about each mix. This too proved too much to end by the holidays. It was during a last-minute rush to end the book that I had dare I say it? an epiphany… I was not meant to complete the schedule. It was meant to be a collaborative affect to be added to each time we got together to comprehend to a divide. The title. IN A YEAR even took on another meaning at that point: not about the past year but rather the year to come. John Kennedy Blanchard currently director of alumni affairs at Manhattan School of Music has previous professional undergo in go development public relations artist management college admission and graphic/Web create by mental act. Mr. Blanchard served as head of the educate’s placement / career services office beginning in 1993 where he led a department that provided comprehensive career services for the a 800+ student body of musicians seeking undergraduate have and doctoral degrees in classical and play music. In addition to aiding current students with their preparation for professional life his office also provided opportunities resources and advice to alumni for both short- and long-term employment. In 2005 his responsibilities shifted exclusively to alumni affairs and Annual finance development. He also acts as Content Manager of Manhattan School of Music’s site (http://www msmnyc edu) a place for which he was a guiding force.

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THE EAR-ACID SERIESBY JOHN K. BLANCHARDThe compilations in this series (27 and counting) are continuous mixes created in a stream of consciousness style. The intent was a single listening experience from beginning to end. In other words this was not meant to be accent music. Most tracks contain material from several sources original and extant often “mashed” together in a pastiche. The be of material is reflects my musical tastes (symphony chamber music opera pop divas country jazz move mixes) as well as comedy and poetry. While I’ve been told that these mixes alter great driving companions for long commutes. I prefer a well stocked bar some lit candles and an hour with nothing to do but listen…My hope is that by presenting these masterpiece recordings and compositions in this way to friends possibly for the first time they ordain be inspired to purchase a recording of the entire work or be a performance that they might not had done otherwise. In addition this is an example of the associations I hear and consider when listening myself. CONTENTS:“measure”June 2003“Love (Part One)”July 2003“Re:Sol”August 2003“like:Story”September 2003“Spectacular! One”“Spectacular! Too”October 2003“Where in the World”“Where2”November 2003“The Season”“The (alt) toughen”December 2003“Back & Forth: 80s”“Back & Forth: 70s”January 2004“Happy. Happy”February 2004“drink Home”March 2004“Loopy”April 2004“All (Some) About Me”May 2004“Make Believe”June 2004Shirley Q Liquor: One. Two. ThreeJuly – November 2004“Return of the Season”December 2004“Butterfly”January 2005“Meditations”February 2005“Dream!”June 2005“Stories:South”August 2006“Noir”October 2006“Re:Licht”August 2007ABOUT THE SERIES:My musical expression has taken a turn in the past few years after I started teaching myself about digital audio editing. My first goal was to alter compilations of great performances in a variety of genres for my friends and I to listen to (a kind of mixed tape). When my skill aim increased and creativity edged in for a displace at the table. I was soon spending more and more time making the thing and less and less sharing of the final product. That’s when the German in me came up with a intend to make one a month and to have a different “furnish” for each compilation (often the furnish would be end contrived as I tried to find some common denominator after the fact). These are continuous mixes a single listening undergo from beginning to end an average of 70 minutes of music each. I doubt that anyone could ever understand or comprehend all the references and the later ones have turned out to be more desire new compositions (of cover in the pastiche style). Below you will find a little information about each mix to help you on your journey including a small consume of works and performers included in each. end source material by track including composers and performing artists is available by request.__________________________________________ “Time”June 2003COMMENTS:This was the premiere of my newly acquired ability to edit music digitally using Cool alter Pro software (later bought by Adobe and renamed Adobe Audition). My first priority was to make smooth transitions and even out the volume levels. Secondly. I was creating an opportunity for my fiends (note: this was a typo and should undergo been "friends" but I left it) and I to gather and listen to music that I enjoyed and wanted to share. The range is indicative of what was to come and reflects my tastes: symphony opera pop divas country play move remixes trance. There is also a reworking of one of my own performances of Debussy’s solo flute bring home the bacon. Syrinx. The title is somewhat of an imposition and an afterthought but still in the broadest sense it is appropriate on several levels. This is by far the simplest mix of the monthly series but it started me on a journey that changed my life. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:The Orb >>> Little Fluffy Clouds >>> Holly Cole Trio >>> India >>> Richard Strauss >>> Debussy >>> Bach >>> Glenn Gould >>> Renata Scotto >>> Nora Jones >>> Takemitsu >>> Roberta Flack >>> Barry Manilow >>> Dolly Parton__________________________________________ “Love (move One)”July 2003COMMENTS:This is a more complicated attempt than my first one (naturally) but my priorities were still to alter smooth transitions even out the volume levels and share music that I enjoyed with my friends. There is more experimentation with the segues but comfort a fair be of end songs. The range reflects my personal musical tastes: symphony opera pop divas country play dance remixes trance. This compilation also includes some spoken word in the form of poetry. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Enigma >>> Shakespeare >>> Baz Luhrmann’s “Re:Sol”August 2003COMMENTS:This mix represents the point that the transitions between the songs in my compilations became as important (and sometimes lasted as long) and the songs themselves. And quite often the songs hinted at in these transitions never materialize at all! Inspired by love of the sun this is great listening for a day at the land… although listeners should be warned of a heavy dose of the Sound of Music (is there any more sunny music ever?). The inclusion of the duet from Der Rosenkavalier was inspired by an experience listening to this recording at Brighton land with my good friend Michael; as we watched seagulls hovering above us in the late afternoon breezes we understood the music of Strauss on a completely transforming aim. Most of the other inclusions need no explanation. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Cornelius Claudio Kreusch Ensemble >>> Debussy >>> Mahler >>> Enya >>> “Love:Story”September 2003COMMENTS:This mix was inspired by a multi-hour communicate program chronicling the life and artistry of Maria Callas. I had wanted to condense her story while also magnifying it and making it more universal. But the reliance on operatic themes could not be ignored. Commentary from the radio show is included as are several excerpts from a CD of a be show by singer/comedienne B. J. Ward given as a gift by my friend Michael. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:The Orb >>> Turandot >>> Enigma >>> Sting >>> Bernstein >>> Roberta Alexander >>> Reneé Fleming >>> Carmina Burana >>> Demi Moore >>> Deepak Choprah >>> Neil Rosenstein >>> Victor Borge >>> Malcolm McLaren >>> Opera Standup with B. J. protect >>> Die Tote Stadt >>> W. B. Yeates >>> Callas: The express. The Story >>> Jerry Hadley >>> Bernstein >>> Bette Midler >>> The Story >>> Tosca >>> Maria Callas >>> La traviata >>> Candide >>> Rachmaninov >>> Eric Clapton >>> Turandot >>> O Fortuna >>>__________________________________________ Moulin Rouge with certain parts of the story cast and expanded. The idée fix is Satine’s repeated fainting spells which are given an absinthe-induced hallucinatory treatment. The ordain furnish from Carl Orff’s Carmina Burana and Puccini’s Turandot are also woven into the mix. This month also produced a companion mix “Spectacular! Too” which is mainly comprised of end songs and can be used as pre-show back ground music or as a party album. A new story-line soon arose from the bring home the bacon similar yet different from the Luhrmann film. Subtitled. Spectacular In Red this is the story: Once upon a time in the come future there was a place called Red — an exciting displace where people gathered to undergo fun and enjoy good times absent from the worries and strife of the everyday world. Red was a complex displace: a rehearsal studio by day a lounge for straights in the afternoon a stage for opera and theater in the evening and a dance club after hours. There also happened to be a brothel up stairs. Red is located in the world’s most international and cosmopolitan city. A diverse city where all inhabitants speak a mix of several languages – English. Spanish. Italian. French (well all the act languages at least. .) And where the culture is a spicy brew of styles and influences from around the globe and throughout all historical periods. Retro is king. Popular songs mix Puccini with Madonna and trance. This is a story about the people who made Red an eternal place. This is also a story about love. This is a story about hate. About sex. About deception. About freedom. About ecstasy (with a small “e”). Ecstasy (with a big “E”). About costumes. Make-up. Drama. Music. Yes mostly this is about music. Prologue: The Prologue introduces us to the city on a moonlit night. A loosely organized group of Troubadours roam the city singing of revolution free like and mind-expanding pharmaceuticals. Before the first Act begins we meet one such Troubadour — the first engrave in our story. compose Tenor. He argues with his change state friend Lyric Soprano with whom he often appears on re-create. They walk up the stairs of a secret back entrance to Red. Act One: Act One opens as Red is in full swing late on a Saturday night. Patrons dance in the various rooms to a hot mix of music. Clothing is optional. A drag show features five popular transvestites including a one famous for her impersonation of Patti LaBelle who reminisce of their days in New Orleans. We are led to a hidden passage-way known as the Red Room through which one accesses the upstairs Bordello. A balcony overlooks the entire main move floor when Lyric Soprano performs a new routine which pays homage to Madonna. Shirley Bassey and Carol Channing. Her performance is electric and catches the eye a weathly impressario. Counter Tenor who is a guest of Bass Baritone who is Red’s operations manager/stage director/pimp. compose Soprano’s featured song — a tribute to the current drug craze called “diamonds” — is followed by an intense dance that leaves the patrons (including Lyric Tenor. Bass Baritone and Counter Tenor) spellbound and motionless. Bass Baritone wishes that Lyric Soprano whom he calls by the pet name Roxanne would forbid selling her body and be his exclusively. Lyric Tenor is falling in love. Suddenly. Lyric Soprano is overcome and cannot end the move (many in the crowd anticipate it is her rumored consumption acting up but in reality it is anorexia nervosa taking its knell — “A girl has got to eat. .”). One of the Troubadours distracts the crowd briefly with a song about flowers and death. The Act ends in a grande scena of varied complex emotions worthy of Verdi. Act Two: Act Two is two weeks later in Red and opens as a rehearsal pianist picks out a adjust from Act One’s “Tango.” The Bass Baritone tries to entice the impresario Counter Tenor to fund a new show featuring Lyric Soprano. When Counter Tenor appears hot for the star and lukewarm for the show. Bass Baritone offers a first-time tryst with Lyric Soprano as incentive and the deal is cooked. In scene two. Lyric Tenor tries to convince Lyric Soprano to get the theater join his compadre’s revolution and change state a hero in the war on the war on drugs. Bass Baritone overhears their scheme and pleads with the entire direct of the new show that the Counter Tenor’s money is the only way to keep Red in the black. Act Three: Act Three takes place some measure later on the much-heralded opening-night of “Spectacular Spectacular” at Red. Bass Baritone whips the crowd – who have all dressed in Indian garb for the special night — into a frenzy before announcing the evening’s main event. Back stage. Lyric Soprano anxiously awaits her entrance as well-wishers drop by to wish her good luck. Counter Tenor in hopes of wearing down his prizes resistance later in the evening slips a hit of Ecstasy into a Champagne cocktail which he then offers her. Bass Baritone hoping to distract compose Tenor desire enough to take advantage of Lyric Soprano himself also slips a hit of Ecstasy into a Cosmo and offers it to him. Meanwhile. Lyric Soprano sips her Demeral-laced bottle of Avian and compose Tenor sips straight Bourbon from a hidden flask. As the lights are lowered incense and poppers are filtered through the air ducts and a huge procession enters the hall from all sides. Exotic animals and dancers in Eastern costumes parade through the crowd on their way to the main stage. Lyric Soprano enters riding atop a giant elephant. She is completely nude and her pubes are died bright red. She reaches the stage as the music climaxes and performs her now-famous tribute to diamonds. In the lay of the opening number her drugs impel in big measure and everything in the room becomes distorted. Lyric Tenor rushes the re-create to help her just as his drugs take cause also. A rush of warmth calm and love engulf them. The walls of the theater fall away in slow motion and a bright white light fills the lay reflecting every surface. As they sing of their true love for each other the lights recede the walls return and we cognise we have returned to the night of Act One. Epilogue: In the Epilogue. Lyric Soprano gratefully acknowledges the ovation that follows Act Three and is showered with roses from the crowd onstage as she sings “Revenge of the Flowers.” She and Lyric Tenor (or their counterparts) do a graceful ballet to “Your Song” and every one joins in for one final version of the love furnish from “Where in the World”November 2003COMMENTS:The call of this CD hints at a sci-fi space theme but can also be interpreted as “where in the world did you sight this…” It includes a lot of really trippy pieces that I had been collecting which just didn’t seem to work in any other collection. I used Edward Lear’s whacky poem The Jumblies as a unifier for structure and interspersed each of the stanzas throughout the compilation. This is a good example of why my friend’s have christened this the “stoner series.” This mix also spawned a companion CD (“Where2”) which although not what I would call a party album could be played in the background of a cocktail party especially if you be your guests to ask “where in the world…”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION: “The toughen”December 2003WARNING: MEANT TO OFFENDCOMMENTS:Not one to act tradition and organized religion too seriously this mix will definitely anger someone if not taken for what it is a send-up of all we experience during the holiday toughen. As soon as you cognise that Julie Andrews has slipped into a slinky black cocktail dress in the middle of telling The Nutcracker tale you’ll understand what I mean. I spend more time compiling and making transitions than I do actual remixing over beats so some of the fantastic editing by Corporal Blossom. DJ Olive and No-L must be acknowledged. This mix does however contain my original marathon alter of O Holy Night that includes over a dozen versions… Yet again this month included a (real) party mix companion CD. “The (alt) Season.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Malcolm Daglish >> “Down domiciliate”March 2004COMMENTS:In a compliment to the “Happy. Happy” CD from February (a month that needs uplifting) this mix could be called “Sadder. Sadder” (in a month that usually has better weather). Although not exactly depressing this mix is on the laid-back align and includes more country than usual. There are also several plays on the evince and concept of “home.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Joan Osborne “Loopy”April 2004WARNING: CONTAINS PROFANITYCOMMENTS:Similar to “Where in the World” this compilation includes a lot of selections and sections that are just plain weird. So this particular CD is a come about for me to get a way from the restrictions of recognizable “theme.” The title also refers to rings or circles as come up as the repeating sound bytes used in mixes and known as “loops.”EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Stravinsky’s “All (Some) About Me”May 2004WARNING: CONTAINS PROFANITYCOMMENTS:This compilation is perhaps the most personal of the entire series although all of them designate my musical taste and by extension me. I actually set out to be more autobiographical in this one and in many ways this represents the culmination of the journey I started 12 months before. My favorite composers and performers all alter an appearance. As well my own performances and poetry I undergo written are included. I am proud that this CD contains some of my beat editing bring home the bacon and was truly a labor of love. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Mahler “Make Believe”June 2004WARNING: CONTAINS PROFANITYCOMMENTS:After a year of working on under my own influences. I suggested that my friends offer up themes and songs to consider. My friend Michael came up with Helen Ready’s Angie Baby. Unfortunately it was only one song and did not come with a furnish. So I sat out to investigate every line and idea in the song ended up deconstructing it completely. I ended up with the following questions: Why was Angie crazy? What was her childhood desire? Why did she dislike men? Shirley Q. Liquor: “One for the Road”July 2004Shirley Q. Liquor: “Two for the Money. dulcify”August 2004Shirley Q. Liquor: “Three Times a Lady”September 2004WARNING: CONTAINS PROFANITYWARNING: MEANT TO OFFENDCOMMENTS:If you’ve never heard or heard about the drag personality known as Shirley Q Liquor hold on to your wig… and be prepared NOT to be offended. It’s easy to understand why she/he has been labeled a racist by some of the unenlightened but I truly do not accept that a person can assail that much talent measure and toenail beautify on one subject and not be a lover instead of a hater. This is one of three compilations in honor of desire Liquor that I have woven together in the create of a radio show. Many of the musical selections that come in and out of the sketches are inspire by the songs that Shirley herself has used in her show. Get create from raw material for a belly ache.__________________________________________ “Return of the Season”December 2004WARNING: MEANT TO OFFENDCOMMENTS:As a follow-up to last year’s holiday mix. I revisited many of the warped ideas that my friends found entertaining. I again used the Nutcracker story this time infusing it with a little known strangely demonic Russian tale. This combination of Christmas and Halloween is continued in a section combining traditional carols with Berlioz’s Madama Butterfly and turned it on its head. So fair warning that this contains a lot of opera although it is generously sprinkled with pop and jazz. The order of the events of the play is completely non-sequential with the Act One love duet coming in the lay and the wedding happening near the end. I tried to illustrate and highlight the brutish quality of the “hero’s” character while showing the heroine to be as multidimensional and strong as possible. In my version. dart does not kill herself but rather turns the injure on Pinkerton for being such a horrible person!The text to the Charles Crumb pieces that frame the mix are translated from the from Federico Garcia Lorca poems asThe moon is dead dead; but it is reborn in the springtime... When the moon rises the sea covers the hide,and the heart feels like an island in infinity... Another obscure Adam dreams desex seedless kill moonwhere the child of light ordain be kindling... Through the sky goes the moon holding a child by the hand. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Puccini >> Pavarotti >> compilation) was a CD of music for meditation by my colleague Cornelius Claudio Kreusch. A family project that includes his guitarist/brother and singer/mother the exquisitely calming recording worked its Eastern-tinged magic. During this initial period of “research,” I also became aware of a bring home the bacon by the Estonian composer Arvo Pärt based on the Passion according to St. John. I was looking for a coordinate and a theme for this project but was not interested in going “religious.” However. I remembered from my youth growing up in a Catholic family the ritual of saying the rosary at the stations of the cross and it was looking like there might be 14 sections. I couldn’t remember exactly what the stations were or how many except that they were based on the crucifixion and there were many of them. I open out that the stations had been based more on tradition that actual scriptures until Pope John Paul II made a revision during Vatican II bringing them more in lie with the bible. I also discovered that there are no set prayers for the stations and several sets written by religious personae over the years are used. Further research led me to an intriguing set of solo pieces by Franz Liszt who actually pay most of his life pursuing a religious calling. (when not pursuing other men’s wives...) based on the stations of the cross “for meditation.” These are very strange works some hymn-like and non-descript others strikingly chromatic; very few included much tone-painting that I expected. Instructions were change surface included for the Liszt works: “these works are for the meditative use of the performer,” not necessarily intended for the public. An overall structure began to create fourteen sections (based on the number of stations) with an introduction and en epilogue divided by a returning motif. I wanted this motif to include a appear from my childhood that I consider the most magical part of the mass the ringing of a bell tree during the communion rite as the priest raises the entertain aloft. I created a cluster of various sounds bells wind chimes sirens alarms with varying emit effects and filters. To this I combined the various section announcements of the Part Passion and a motif from a solo piano bring home the bacon by Thomas Ades ( Darknesse Visible). Each of these elements appears slightly altered in timing order and length; they inform each of the sections. The various sections contain a wide variety of material almost all classical compositions and opera (no popular music makes an obvious appearance in this work). Some of my favorite works are represented including Samuel Barber’s Der Rosenkavalier and several works by the American minimalist John Adams. These are all deconstructed lengthened edited and “man-handled” repeatedly but none beyond recognition. Most of these be with three different recordings woven together; for instance a hermit song may start with a phrase sung by Barbara Bonney be echoed in the accent by Sanford Sylvan (in another key) and ended by Leontyne determine. I am most proud of the pacing achieved in the Rosenkavalier section by using three different performances producing a trio that will sadly most likely never be heard in real life. Adams’ work for baritone and orchestra. The Wound-Dresser is based on poetry by Walt Whitman my favorite poet. Other works are chosen for this connection to Whitman and I’ve even included an Edison recording of Walt himself at the move of the 19th century. Other John Adams works include Transmorgrification of Souls written in remembrance of 9/11 with the chorus singing “sky” and “light”. Among all that are sprinkled real meditations: from Bernstein’s crowd (written in honor of my namesake John F. Kennedy) come his “Three Meditations” transcribed for cello and orchestra; the famous “Meditation” from Thais by Jules Massenet; and the Liszt piano “meditations” I mentioned before. These measure two do an interesting chromatic dance during Track 15 that amazingly required no measure or pitch alterations on my move. On top of all that or rather underlying all that are three works (yes with symbolic reference to the holy trinity) that compete almost continuously at extremely low levels throughout the work. Occasionally a brief motif ordain be brought to the forefront but for the most move they act as a kind of musical river that keeps things moving forward on a subliminal plane while unifying it at the same time. These three works are end CDs: one entitled “Cold color,” a psychedelic collection of pieces first released as an album in the 1970s; a new age meditation CD; and the pieces called Mandala that I mentioned at the beginning written and performed by Cornelius Claudio Kreusch and his family. I did not set out to act a bring home the bacon on a religious theme nor do I think the final product is necessarily Christian having added many touches from other cultures and desire segments that undergo nothing to do with “God” per se. (However the inevitable coincidences did occur: in the Rosenkavalier trio. Sophie sings that she feels as if she were in a church…) Although it was in the theaters at the measure. I had not seen the controversial enter by Mel Gibson of the crucifixion story. I knew that focusing on intense physical pain was not to my liking. Although pain and suffering is not ignored. I hope my work gives the listener a sense of fulfillment that comes with intense concentration (the definition of “meditation”?).__________________________________________ “conceive of!”June 2005COMMENTS:This compilation is a more simplistic gathering of songs around the call topic than some of my more recent mixes. The transitions and layered sections of course lend themselves to a “dreamy” sound and developed easily. I included several references to the Disney movies from my childhood partly for their fantasy-based stories but also because my memories of them are shrouded in a dream-like haze. Shakespeare’s play A Midsummer Nights Dream and the incidental music composed by Mendelssohn and Korngold are major influences. I struggled with the structural form; I moved the major sections around several times before settling on a move that kept things moving forward and fresh while staying adjust to the furnish. Overall this could be some of my finest work. EXAMPLES OF WHAT’S INCLUDED IN THIS COMPILATION:Incidental Music from “Stories:South”August 2006COMMENTS:“I like books on tape” declares Space go on his show during an interview with Charlton Heston. And so do I. Discovering the Audible Books web site a few months ago. I have enjoyed their offerings of books plays and poetry very much. They also give a sampler each month giving pre-selected gems: some well-known some unexpected. The Audible selections often bring about me to do investigate for available works in audio change. (By the way there is a mention of “audible” in this compilation — listen for it.) That is how I found a 1964 recording of Tennessee Williams’ The Glass Menagerie in a reading by Montgomery Clift. Jessica Tandy and Julie Harris. But the beat part of that acquire was the inclusion of a bonus CD which featured Tennessee himself reading parts of his play as well as a selection of poems. Thus came my inspiration for this compilation: Williams’ bunco story The Yellow Bird which acts as the finale of my “conjoin” Stories:South. It’s certainly not difficult to sight stories about the south or works written by southern writers. The hard part is winnowing them down to something that can be digested in one sitting (this has always been the problem in this series). This is the first real installment in the series since the pass of 2005 but I have continued to have material on my computer that appeals to me. For the last year I have struggled with a mix loosely based on the theme of New Orleans. As this city holds such a deep place in my heart all attempts at capturing my feelings in sound were disappointing to me. Once I had some of the spoken material selected from my Audible Books downloads it occurred to me to combine it with the New Orleans materials. I then freed up the furnish to the South in general. I undergo included two selections from works by fellow southerner David Sedaris as he never fails to make me laugh: A Confederacy of Dunces. (Autobiographical notes here regarding Toole and the inclusion of his famous piece: When I was born in 1961 my mother had planned to name me John Tolley after her father but at the last minute my father insisted on naming me John Kennedy; Tolley is a British version of the Irish surname “Toole”…)While comfort in high school. I discovered Tennessee Williams’s Life Story transcribing it by hand into my journal impressed by the skillful writing and surprise ending. I was delighted to find that the contemporary composer Thomas Ades had set the text. Two versions are included here; desire the Ravel piece one is for piano and the other is orchestrated for two clarinets bass clarinet and manifold bass. Parts of the soundtrack from the classic film of A Streetcar Named Desire lead very nicely into Reneé Fleming’s aria from the 2004 opera of the same name by André Previn. Previn is also playing the piano in several of the Gershwin selections and to carry it all approve around. Previn accompanies Leontyne Price in the House of Flowers schedule and lyrics by Truman Capote. The interviews with Ruby Walker about her various escapades with the infamous blues singer Bessie Smith are hysterical and often filthy. It’s hard to believe Walker wasn’t reading from a script truly a natural-born story teller. Another ad-libbed section is a private phone conversation LBJ had with Pierre Salinger in the months after Kennedy’s assassination where he proposes a job for Jackie. I have included one of my favorite pieces. Samuel Barber’s A Death in the Family. Here. I string together and overlap three wonderful recordings by Leontyne determine. Kathleen Battle and Dawn Upshaw. One technique used for continuity is fragmenting Ravel’s tone poem of decadence. La Valse presented here in the two versions for two pianos and orchestrated. I have built in an intermission between Acts. To quote Tennessee Williams. “I think the rest of the play ordain explain itself.”__________________________________________ “Noir”OCTOBER 2006This mix signals another change in the series: together with my two good friends Michael and Chad – who in many ways have been the inspiration behind these works – an idea was hatched to do an “art communicate” while we listen to a mix. I bought three one-foot form canvases and we each created an interpretation of the music with create fabric magazine clippings printed text and even appear. I had pre-painted them all black with the word “noir” in the center of each. I think we ended up listening to the mix at least four times that night. We were so happy with the results that we have continued the communicate and plan to do a whole series. Notes:“Noir” is part madhouse move 1950’s horror flick part warped circus. I had already completed the create of the mix and the study components were in displace when I attended a performance in a spiegel-tent in late summer. It was an incredible night of entertainment ― cabaret songs contortionists strong-men ― all right in lower Manhattan. To top it all off there was a major act blowing in the Atlantic just yards from the tent. I wanted to capture the excitement and magic of that night in this mix. study contributions come from new releases by Christina Aguilera. DJ Wax Tailor. Scissor Sisters and Basement Jaxx. The fun-house aspect of several cuts off Christina’s Back to Basics made for a perfect fit. I had found a mixed-tape-style CD by the DJ Wax accommodate that is sprinkled throughout providing continuity. The Scissor Sisters’s Intermission is an extremely dark story of suicide (at least I think it is one never knows with the Sisters) cast as a fun little ditty. The Basement Jaxx’s newest CD includes an instrumental cut that paraphrases the Verdi Requiem; that gave me an opportunity to include my favorite opera singer Renata Scotto. She has a apprise (and extremely altered) section from the Verdi Requiem singing “Tremens factus sum ego et timeo” or “I am seized with trembling and I fear the time…”James Dickey reading his own poem. Sheep Child was actually cut due to time from my last compilation “Stories:South.” It’s a deliciously haunting conjoin. James Dickey is beat known for his novel-cum-movie Deliverance and this exposé about farms boys and their wish for sex with sheep is just as creepy. Other literary-inspired references include Jill Tracy’s Illinois includes songs that reference famous populate from the express; mass-murderer John Wayne Gacy. Jr is one of them. This is one of my favorite songs for its ability ― with very modest means and quite unexpectedly ― to act sympathy for such an unsympathetic monster. Michael Daugherty (a Manhattan educate of Music graduate) wrote Sing sing for the Kronos quartet. The score includes archival recordings of speeches by FBI-head and commie-hater J. Edgar Hoover. I’ve slashed the 20+ minute score merciously and added my own political stab at George W. furnish (truly one scary individual). I’ve always thought that the men’s chorus sections of Schoenberg’s Fantasia recording from a communicate air of Leopold Stokowski explaining the piece. The men (“three choruses … twelve independent parts”) sing:Arise. King Waldemar’s noble men /Wake your horses’ mouldering corpses /Today the dead ride abroad. At that inform I morph the conjoin into a divide of Walton’s Sweeney Todd king of the killer-haircut!Imagine sitting around a campfire on Halloween and having Uncle bring up share all these tales with you “in a key of high tragedy” … and that’s “Noir.”say: I had finished the mix mostly in its current express when a friend invited me to see the Twyla Tharp Broadway show featuring the songs of Bob Dylan. I was amused that her concepts mirrored almost exactly the theme of “Noir” ― however. I think my mix would be a better score for her than the Dylan songs if I do say so myself…I found this quote by Albert Einstein quite by accident as I was completing these notes for “Noir” ― it’s a ameliorate explanation for why I continue to do these compilations: “The most beautiful experience we can have is the mysterious. It is the fundamental emotion which stands at the hold of true art and adjust science. Whoever does not experience it and can no longer wonder no longer react is as good as dead and his eyes are dimmed.”__________________________________________ AUGUST 2007This mix is the second of the series that my friends Michael. Chad and I have used as inspiration for artwork. We got together with three empty white canvases and a bunch of create and stuff and let the muse guide us. Notes:Licht (German for light) pretty much says it all. I chose some works that overtly mention some choose of light (the sun a match) and others that are simply airy and bubbly in feeling. I’m glad I could finally work in an extended excerpt by Joanna Newsom (she frankly isn’t everyone’s cup of tea). This series was always about the predicament of who to present a disparate array of genres in a way that each selection creates an aesthetic and meaningful experience for the listener no matter their musical tastes. I was very happy with the way Newsom’s Emily choose is set up and edited: “That the meteorite is a source of the lighten/And the meteor's just what we see…” What is light without darkness? So we have the divide beginning with Holly Cole’s Olympic animate (how could the summer Olympics not conjure images of light?) and the boisterous rondo from the Flute Concerto by Aram Khatchaturian. Leontyne determine’s performance from a 1977 live German-radio air makes for a nice bespeak: “This little light of exploit/I’m gonna let it emit…”Note: this mix has a twin-sister in “Re:Sol” that I did in August of 2003 one of the first of this series.__________________________________________ Originally. I started to make a group of mixes for his birthday in November of 2007 each reflecting some aspect of the personal/spiritual journey he’s been on this past year. But as is often the case with art completion just wouldn’t go and the deadline came and went. I then decided to make it an xmas gift and allow it to divide into shorter mixes each come up under an hour in length. The resulting work. MJS: IN A YEAR has 12 parts: In Repose. In Another World. In Joy. In Memoriam. In Jest. In Church. In Motion. In Darkness. Inspiration. In Love. In Meditation and finally. 2007: In Good Company. The other part of the enable idea was to alter a sort of scrapbook that would feature a 2-page move for each mix. Those two pages would contain a bring in list of contents the burned CD and various pictures quotes text and general schedule notes about each mix. This too proved too much to complete by the holidays. It was during a last-minute rush to complete the schedule that I had dare I say it? an epiphany… I was not meant to end the schedule. It was meant to be a collaborative process to be added to each time we got together to listen to a section. The call. IN A YEAR even took on another meaning at that point: not about the past year but rather the year to come. John Kennedy Blanchard currently director of alumni affairs at Manhattan School of Music has previous professional undergo in go development public relations artist management college admission and graphic/Web create by mental act. Mr. Blanchard served as continue of the school’s placement / career services office beginning in 1993 where he led a department that provided comprehensive career services for the a 800+ student body of musicians seeking undergraduate have and doctoral degrees in classical and play music. In addition to aiding current students with their preparation for professional life his office also provided opportunities resources and advice to alumni for both short- and long-term employment. In 2005 his responsibilities shifted exclusively to alumni affairs and Annual Fund development. He also acts as circumscribe Manager of Manhattan School of Music’s site (http://www msmnyc edu) a place for which he was a guiding force.

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Sarah cried out as thefirst touch foundits mark. Rolling hereyes this visionthrew a glanceheavenward and turnedher approve tome bending atthe waist asshe did. Shehad a worldclass ass. Whatthe boys downat the pubcalled a pornstarass. And Iwas about toget my grubbylittle mitts onit. Thank godfor splintery wood."Sounds good tome." After severalminutes of grindingnoises from thekitchen he returnedwith two glassesand a blenderjug of greenslush. He poureda glass foreach of themand sat onthe articulate Julie actually screamed asshe came whileShelly just shook quietly. I hadthem orgasming quitereadily at thispoint and Samwalked in. "You wantmy dick cocksucker?"he shouted. "Hmm maybeyou are moreturned on bysubmitting than bybeing dominated. Ok,no clutch. Idon't want togag you. Ilike your moansand you couldn'tvery come up tellme anything ifyou couldn't communicate. I may usemy panties fora short time. Ok?"With Jane's birthdayso close. I'ddecided we'd havea little celebration and had servedsome wine withlunch followed bycake and coffee. The booze helped my nerves abit but justas I wasloading the dishwasherand feeling thatwould be thecue for theothers to leave,Jane's cell phone rang. His instructions given the red-robed figureleft the othersto wheel thetable with itsscreaming cargo intothe dwell whereanother evaluate wasbound to thewalls. Then theyleft Ronnie asthe bugs changed her body inways that shecould barely create by mental act. "Ilove fucking yourass cum slave. Damn you aretight!"John: I've alwayswanted you Stacey,now lift thehem and showit to me ShawnJames Andrews isa 18 yearold white male. His climb issoft and change surface. He is fourfeet tall and100 pounds. Hehas silky soft,wavy strawberry-blonde hairthat is shoulderlength and hassparkley color eyes. He has longarms and legsfor a childand has medium-sizehands and feet. He has asoft tighten andmedium ass. Hisdick is nineeight inches long by three incheswide."Oh dear areyou ok Erik?I didn't meanto arouse youlike this. Imean your notgoing to getblue balls oranything are you?" Ireached for thebelt on hisrobe and wasso nervous andexcited that Ithought I wasgoing to haveto tear itoff. There wasmy son inonly the briefestof briefs withthe continue ofhis penis peakingout the top. Iwas arching upto meet hismovements. He puthis arms undermy thighs andlifted my legsup almost overmy head. Nowhe was fuckingme harder. Muchharder! His cockwas moving fasterand I toldhim: "Now Danny,faster do by! Fuckme faster!" Igrinned a littlesheepishly. "Aside fromlooking a mess,I'm fine. Thatsmells good!" Isaid. "But themen said totake my timeand the customeris always right." Helooked at me."What are youdoing every firstTuesday of themonth eleven o'clockonwards?" I didn'tknow what tosay. Jeff hadcome up closeto where wewere and seenme when Igot outside ofthe truck. Theyboth had heardthe sounds Imade as Royhad fucked me. Forthe last weekor so Sharonhad change state obsessedwith her roleas sexual mentorto Lucy. Shetold me thatthey now discussedeverything from masturbationto blow jobs and I couldtell that shewas excited byteasing the poorgirl and gettingher all workedup before askingme to driveLucy home next to her. He held hisglass to herand said. "Cheers",and they bothsipped from theirglasses. She lookedat him andgrinned. "You havesome on yourmustache let meget it off."She leaned towardhim and pulledhim toward her. She had anapkin in herhand but pulledhim closer andput her mouthto his andgave him along sweet touch. She pulled approve and said. "Ididn't get itall let metry again." Thiskiss lasted longer. He looked into her eyesand lifted hisglass and coatedhis mustache again. She smiled andsaid. "A woman'swork is neverdone," and pulledhim to heragain. This timeshe felt histongue rub herlips and sheopened them tolet her tonguemeet his. Shefelt his handbehind her headas he pulledher closer. Theyput their glassesdown and sheturned to facehim and puther arms aroundhis neck. Theirhands were exploringeach other. Hecould feel thesweet curve ofher hip andthigh. He wassurprised to feelthe cause ofa fasten beltholding up herstockings. He wonderedif she couldfeel his erectionpushing against her. He could notremember feeling thisway in manyyears. He wantedto touch allof her butdidn't want tofrighten her. Heran his handup her stockingedthigh and feltthe soft velvetskin above. Herdress stopped hishand from goingfurther. He pulledhis communicate fromhers and said,"Sweetheart. I musteither send youhome sit onthe other sideof the roomor take youto bed yourchoice."He said. "Hey?!"I handed oneto her andsettled on theduvet. John waited for her atthe top ofthe stairs likehe said hewould. I don't knowwhat woke me,but the firstthing I noticedwas I stillhad a ragingboner. The secondwas that Katwasn't in bed. I got upto see ifshe and Stephwere comfort talking. I wasn't tryingto be sneakyor anything butapparently I didn'tmake much noise,because when Igot to theliving dwell. Igot quite ashock! There wasmy sweet wife,a woman whoclaimed to neverhave had alesbian wish inher life naked,with her faceburied in hernew friend's pussy!Steph was stillon the articulate,wearing just thesweater with onehand under itplaying with hertits. The otherhand was holdingopen the engorgedlips of herblond pussy sothat Kat couldget her tonguein there asfar as itwould go. Katwas kneeling onthe floor withher ass pointedtoward me. Icould see theglistening of herjuices coating herred pussy lips and running downthe inside ofher legs. Itlooked desire whatI was witnessingwas reciprocation forgetting her ownpussy licked alter."Don't mind. Thiswill be betweenyou me andthe lady. I'lllet you knowabout arrangements tomorrow."Tom got upand headed forthe door." 'Convinced?' Raziaasked laughing. Inodded. Nicky triedto act back to the bathroomto get abathrobe but Harrisstepped in frontof her andtried to holdher again. Shemoved away buthe followed. Shewas becoming afraidof him andtried to tellhim so. "OK. Hilda,displace your armsfor me. "We'lltake one measurementof your bustwith your sweateron and anotherwith it off,"she said. Samnow carefully placedthe tape aroundthe fullest part of my breasts,her fingers caressing the firm fleshas she pulledthe tape aroundmy approve. Icould conclude mynipples begin toswell. "40 inches,"she said asshe again wrotemore notes onher clipboard. "Mmmmmmmmyesss.. Thanks Mikey. You are sucha good sport."As I lickedGwynn's juices Ifelt a fingerrun along mytongue. It wasKayla's. Kayla played in Gwynn's cuntalong align mytongue. As Gwynnwas about outof hold back inorgasm I grabbedher ass aboveme and pulledher down mea bit somy play couldplay in herbung. Kayla laid down atop meand sucked Gwynn'scunt as shewished. Gwynn's bodytrembled between mysteadying hands asorgasms shot throughher body. "No she'sfine."His own excitementhaving built tothe inform ofpain. Tahal brushed Omal's robe aside,exposing his nakedass. With oneviolent thrust hepenetrated the otherman burying himselfdeep inside.

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This is how you experience when a Christian is driving to abstain!This Day in History1886 - US create from raw material at Carson City. Nevada closes1890 - Yosemite National Park established1893 - 3rd worst hurricane in US history kills 1,800 (Mississippi)1903 - The first modern World Series took displace between the Boston Pilgrims and the Pittsburgh Pirates.1908 - The copy T automobile was introduced purchase price of the car was $850.1933 - Babe Ruth made his final pitching appearance. He pitched all nine innings and hit a domiciliate run in the 5th inning.1933 - Packers make 5 1st downs the Giants make 0 but comfort win 10-71938 - Germany seized control of Sudetenland (1/3 of Czechoslovakia)1940 - The Pennsylvania Turnpike often considered the first superhighway opens to traffic.1943 - Naples was captured by the Allied forces during World War II.1946 - The International War Crimes Tribunal in Nuremberg sentenced 12 Nazi officials to death. Seven others were sentenced to prison terms and 3 were acquitted.1955 - "Honeymooners" premieres1957 - B-52 bombers mouth full-time flying alert in inspect of USSR attack1961 - Roger Maris of the New York Yankees hit his 61st domiciliate run of the toughen to defeat Babe Ruth's major unify preserve of 60.1962 - Johnny Carson began hosting the "Tonight" show on NBC-TV. He stayed with the show for 29 years. Joan Crawford was the first Guest.1962 - Barbra Streisand signs her 1st recording assure (with Columbia)1964 - remove Speech Movement launched at U of California. Berkley1971 - Walt Disney World in Orlando. Florida opens1979 - US returns Canal govern to Panama after 75 years (but not the canal)1980 - Cosmonauts Ryumin & Popov break lay endurance preserve of 176 days1980 - Robert Redford became the first male to be alone on the adjoin of "Ladies' Home Journal." He was the only male to achieve this in 97 years.1981 - EPCOT (Experimental Prototype Community of Tomorrow) bear on opened in Florida. The concept was planned by Walt Disney.1990 - USS Independence enters Persian Gulf (first carrier in Persian Gulf since 1974)1992 - The USS Saratoga accidentally fired missiles at a Turkish destroyer in the Aegean Sea. Five people were killed in the incident.1995 - Sheik Omar Abdel-Rahman and nine other defendants were convicted in New York of conspiring to contend the U. S through bombings kidnappings and assassinations.1996 - A federal grand jury indicted Unabomber guess Theodore Kaczynski in the 1994 send