The British artist Rod Summers created the audiotape collage Sad news with razor blade, splicing block, and tape in 1979; it alternates between snippets of BBC News reports and a distinguished male voice saying “I’m sad, very sad.”
Summers put the piece in a self-published compilation as part of his cassette underground project VEC Audio Exchange, and sent 63 copies around the world. Copy no. 40 was sent to the Canadian audio artist Dan Lander, who found it “profoundly inspirational” in the way that “it offered such a simple, yet powerful message by stating the obvious and letting the news speak for itself.” He places the work in the same period and category as the Scratch video movement and works by Negativland.
The humor (and sadness) of the piece arises with the surprise of the initial interruption and then continues with a fascination with the subtle applicability of further interruptions, and how repetition itself begins to take on different guises.
This according to “Where does sad news come from?” by Douglas Kahn, an essay included in Cutting across media: Appropriation art, interventionist collage, and copyright law (Durham: Duke University Press, 2011, pp. 94–116).
Below, the piece in question.
Mark Twain’s reactions to grand opera are epitomized by a passage from A tramp abroad in which he described a performance of Wagner’s Lohengrin.
“The banging and slamming and booming and crashing were something beyond belief. The racking and pitiless pain of it remains stored up in my memory alongside the memory of the time that I had my teeth fixed.”
“There was little of that sort of customary thing where the tenor and the soprano stand down by the footlights, warbling, with blended voices…no, it was every rioter for himself and no blending. Each sang his indictive narrative in turn, accompanied by the whole orchestra of sixty instruments, and when this had continued for some time, and one was hoping they might come to an understanding and modify the noise, a great chorus composed entirely of maniacs would suddenly break forth.”
“We only had one brief little season of heaven and heaven’s sweet ecstasy and peace during all this long and diligent and acrimonious reproduction of the other place. This was while a gorgeous procession of people marched around and around, in the third act, and sang the Wedding Chorus. To my untutored ear that was music—almost divine music. While my seared soul was steeped in the healing balm of those gracious sounds, it seemed to me that I could almost re-suffer the torments which had gone before, in order to be so healed again.”
“There is where the deep ingenuity of the operatic idea is betrayed. It deals so largely in pain that its scattered delights are prodigiously augmented by the contrasts. A pretty air in an opera is prettier there than it could be anywhere else, I suppose, just as an honest man in politics shines more than he would elsewhere.”
Excerpted from “Mark Twain on opera” (The NATS journal XLIII/3 [January–February 1987] pp. 19, 49).
Above, the author around 1880, the year A tramp abroad was published; below, the “little season of heaven” at Bayreuth in 2010.
Part of the U.S. Army technical manual published on 13 November 1963 dealt with the installation, operation, and maintenance of the Hammond organ, which was then the instrument of choice in chapels on army bases.
One of the chapters details the destruction of the organ in the case of the capture or abandonment of the instrument to an enemy, urging all concerned to memorize the procedures so the manual will not have to be consulted in an emergency.
The chapter (above) is reprinted in “Your tax dollars at work for you” by Rollin Smith (The American organist LI/7 [July 2017] p. 88. Below, one way to do the job.
Despite its hackneyed premise—a group of medical students trying to get ahead in the competitive hospital environment—the television series Scrubs had something special: a judicious selection of accompanying music.
Sometimes the choice was linked to the musical biographies of the prominent figures, and other times the lyrics referred directly or indirectly to the development of the plot, to particular events, or to important characters. The frequent fantasies involving the main character, Dr. John Dorian, are riddled with emblematic musical references to the pop–rock music of the last 60 years, offering a rich and representative sample of what the last three generations were listening to.
This according to “La inserción del número musical en las series de televisión: El papel de la música en Scrubs” by Judith Helvia García Martín (Cuadernos de etnomusicología 3 [marzo 2003] pp. 204–19).
Above and below, a fantasy sequence involving James Brown’s The payback.