Because reposting things from Gwen is fun

For the first three people who reply to me and re-post this challenge, I will send you something. It might be something I’ve made, or something cool from my hidden stash, it might be a mix CD – or a rubber duck, a book I think you will enjoy, or something else that is awesome. Whatever it is, I promise that I will get it to you in 365 days or less.

The only thing you need to do in order to participate is to be one of the first three to reply to this, AND post this very same thing on YOUR live journal – ’cause its fun to give people stuff.

The first 3 participants win!

OK.

Fires burn, heart beats strong, sing out loud the chain gang song.

Grace Jones – Slave to the Rhythm

Rhythm is both the song's manacle and its demonic charge.


It is the original breath. It is the whisper of unremitted demand.


I. Penman, "The Annihilation of Rhythm."

‘To give a feeling of connection and relevance’

Royal Festival Hall Gala Celebration 5

[…]
"Everything in life is about personal relationships – including the way
one feels about music. I want to create as many
opportunities for people to have that 'aha' moment – give people the
chance to really connect with the composers." […]

[…] "Musicians, like actors and writers, can be maddeningly inarticulate
about what they do – because they do it, not talk about it. Marin is that rare exception. She has such a lucid, human
understanding of music that she can explain something the way that
others might tell you about certain items on the wall of their living
room." […]

"Marin Alsop breaks the glass baton," Elaine F. Weiss, Christian Science Monitor, Sept. 26, 2007

The man who killed the delirious party of late Romanticism

Glenn Gould – Webern

[…] Gould' s thoughts on ‘ideal' music were most vividly expressed in a few
lines he wrote about Jan Sibelius in 1974: “at its best, his style
partook of that spare, bleak, motivically stingy counterpoint that
nobody south of the Baltic ever seems to write.”


Spare, bleak, motivically stingy counterpoint. You might describe the
music of Webern or Schoenberg the same way, without meaning to praise
either one of them. But for Gould, stinginess could be an artistic
virtue and bleakness could be liberating, just as the North that Gould
idealized was free of buildings, roads and other people. […]

"Our Man for Bach, but Also Schoenberg," Robert Everett-Green, Toronto Globe and Mail, Sept. 22, 2007