So you wanna go get chicken afterwards? Good, yeah, OK. Cheryl's gonna go down and take her show down so it's just you and me, babe. And then tomorrow night we're meeting also. The girls, you know? We're... you know I've you know I've always thought of you like that, Bruce. Down through the years I've always, I've always thought of you like that. I'm glad you could make it, man. Big dance weekend, huh? Let's grab some programas. Here we are. That's quick. The show's only an hour and a half long? Really? That's disappointing. Can you do something about that? Bruce, she says come here. Where is where where is this if we clap really hard he'll come out for an encore? We, OK. Come sit with us. Come sit with us. Excuse me. Come down here. Come sit with us, it's not. They're just for the lecture. You can sit anywhere you want for the lecture. Come on. I've never I've never seen you obey rules so much. Obedient. An hour and a half. Isn't that amazing? Went to dinner with Cheryl's dealer. Went to a party, yeah. Uh, party for another artist. Was it fun? Uh, it was OK, yeah. Dinner was fun with those guys. They're really nice. Janet was there, your friend Janet. Me, Janet, Cheryl, and Stefano went. Yeah. I'm disappointed this is so short. I thought this was gonna be another real long show. FMUers here. Scanning scanning the audience for them. It ended yesterday. She's got to go down there and take it all down. We just ate. I'll eat again. She, yeah. I've been telling her that it's gonna be like a six hour concert. Yeah. Cheryl. Guess how long the show is? An hour and a half. The Berio. You wanna come... I don't think it's gonna be... the Berio thing. I told him to but he refused. Yeah. The Beckett talk was good. Oh, I wasn't invited. Shit. You read read at the church? We'll talk later. No, hey, very serious food. Look it's only an hour and a half. Oh man. So, you got fifteen bucks for for some CDs there. Robin and some of the FMUers. Flypaper for fuck ups. Bruce, you like him? Lukas? No? That was very funny. Where are you going asshole? No your not. Says who? Nobody's sitting here. Come here. Bruce, come on. There are millions of empty seats here, let's go. No, will you please come over here? Who am I gonna talk to during the show? C'mon. Seriously. Did you, what did you think? No, with myself. No, I've done that with myself. Come on. Seriously, you gonna go back to your seat? What did you think of that? I liked him better than I liked Berio. Way more academic, yeah yeah. It was a bummer. I'll see you at the intermission, right? Sure. Hey Bruce, no one's sitting here, man, you're welcome to it. Here's one FMUer. That's Bryce. And there's Stork. Yeah, he actually left the house. There's Bryce and Stork. He actually left the house. That's very funny. Cheryl. Dork. What did Amie call him? There's Tom Schmitz. Formerly of RISD, now of FMU. There's a lot of FMUers here. Flypaper. Little Nick Marantz little Nick sitting next to to Robin. See Robin and Nick? You met him you met him that time, yeah. God it's amazing, I mean it's very funny how much FMU staff is here. It's amazing. No this is good. No he always had a very hip following. Hip and young. The guy that was interviewing Xenakis he's the guy, let's see. His wife is a student of Suzanne, this kind of weird wishy painter, he's a friend of Joan La Barbara's and he writes for the Wall St. Journal. Um, he also writes for Lingo and does good, you know, he does good New Music criticism for Lingo. Mark Swed and he wrote all that stuff in that you remember that Cage thing that we got? That thing that Schwann Record Guide? All that writing, you know, with that bad typography? That was all his writing as well. Huh? This is fun? That's a lot of people we know? It's interesting all the people that show up on FMU they're all the people that have good shows. The knuckleheads stayed away. Cheryl the rumble the beat if you listen quietly you can hear that same noise that they had to turn off. Cheryl. Shut up. So I have more piece of tape from this week saying... Yes, thank god. Do we like it? That's the thing with Xenakis over here... the hits keep on coming. It's pretty rich stuff, isn't it? It's pretty accessible stuff. It's pretty rich and yeah, it rocks, yeah and also the ensemble's very good very sort of Bang On A Can like. Oh, by the way, the performance we saw got a review in the paper. The, uh, the Times loved it. What? It's good stuff. And that's ‘89, it's a late piece. The piece is from... the times between Ustvolskaya and Xenakis have proven to be the most interesting. Yeah. They're really big, aren't they? Like, kind of anti-academic. Really noisy. It was very good, wasn't it? So, yeah, I'm interested in the, uh, in the uh, vocal work. I think it should be real good. Look at these. These are it's a quarter-tone piece too which should be interesting. Remember the Ives quarter-tone pianos? The conductor has the ugliest suit on. It's like they're all coming to see Bruce. Huge, huh? Hi guys. Hi Rob. Hi Nick. This is my friend Bruce. Nick Robin. They are and there's Cheryl. I'm exhausted. I worked hard during that last piece. You remember Cheryl, right Nick? Bruce, what did you think? Very good. Were you here for the lecture? He didn't have much to say, really. Schoenberg said that as well, huh? That was weird, yeah. Yeah. Yeah yeah, that's right. Well, he liked early he liked early Stravinsky. He didn't like the Romantic, uh, the Neo-Classical stuff. The second piece was real nice. Really punchy. We're trying to understand the hipness factor how both the crowd and the performers. Xenakis always seems to have sort of real hip things going on around him. Oh, way. Yeah. We're trying to decipher the hipness factor here. The performers as well as the, uh... Drink of water. Uh, seems like she took off, oh yeah. Here's mine. She off at the bathroom. Kind of weird, isn't it? I guess they got another show going. Uh, sure sure sure we could. OK, I'll get it at the station. Oh, Bruce there's a party there's a party for zingmagazine it's out. Your big piece is in it and I butchered it to hell. Uh, no there's a party for it we'll get our hands on it Thursday night at the old Knitting Factory on Houston St. if you're around come on down and grab a copy or two, yeah. I wanted to take a piss before they sit us down there. Uh, I will remind you again. Yeah yeah. Some old standard, yeah. Some classical music. I hope you'll give me some of the, uh, your, uh, a tape of your for Sally's for the radio. The conductor does remind me of Charles a little bit, doesn't he? Yeah, I wish, I wish. Charles knows nothing about music. You did? He he knows nothing about music. We're done. Was Raworth there? Well, he's a great reader. You're still a great reader. So much for six hours. Go ahead. Go around. Well, something's wrong with the older with the older woman I think she's she's, you know, old and can't quite control her speech. Did we get that disc at the station? Did we get it? Yeah, I'm sure we will. Did you get my email about the Carl Stone thing? Oh, really. I did, but it didn't come up. Anyway, anyway, I'll do if you want me to do I'll do that. Sure, on the 30th? You want me to come out? Whenever you want. Whenever you want me to do it I'll do it. I'd love to. Yeah, he's interesting. I can do it or we can tape it for someone else's show unless he unless he wants to be live on somebody else's show. Well, something screwed up it's OK. I'll I'll talk to you after this. Robin you enjoying this? I know you are I don't have to ask you. I know Nick, well I you were not sure whether you were coming. Nick knew he was coming when he first heard about it. I'm giving you shit. After this, Cheryl, do you just want to go downtown? Or do you want to come get a bite? Yeah, alright I told Bruce I'd hang out a little bit afterwards with him if you wanna head downtown, you may. That was pretty beautiful. Yeah. What he's doing is basically what the guy said earlier is he's doing something that's not twelve tone. It's just kind of... you know? It's not, um, tied to academic twelve tone stuff that's by that by the ‘60s was really dead. It was great when it first started but way down the line, fifty years later, it's not interesting. That's what we like so much about these composers from the ‘60s on is that it's just kind of neat sounds, you know, somebody's got an idea of how to make really neat. Which? Those are bassoons. Bassoon. And a straight pipe is an oboe, I'm sorry, no. That's... I could have listened to a lot more of that. Oh shit. I love they did this before and I thought there was, like, another inch of music left so I didn't see that there was actually another page. Shit. I was like, that was so rich. That was so rich. I would hold this but I think it was not matching my outfit. Pretty good stuff, wasn't it? Like I think that last piece was really... pretty rich stuff. I was taping a little bit of it, uh, just letting it run a little bit it's just... oh. Oh, it's OK. It's OK. Yeah, I'll put my tissue over it there. I play so lo-fi stuff on the show. Some real lo-fi what do you think, Nick, what kind of what kind of, uh, sound quality will I get? Yeah. Oh, that was pretty punchy. I liked that last piece a lot. Very rich. Well, we're gonna play this all on the radio. That's all right I'll just put it I'll just play it. Stick it right into the mic, yeah. Hey, we're lo-fi. Hey, I see Stork made it out of the house. Look at that. Jesus Christ. Stork has just left the building. My god. Did Donna make it to the show? I saw Tom, right right. There he is. He's he's I've never seen him been in that house when he hasn't been it's unbelievable like every. Is that you mean he's not there like every night? Oh really? Really? Really? I thought he was really bizarre, like, OK I guess he never leaves. I was like was is Stork doing at like five in the morning? Pacing around. Alright alright alright. Well, that was that was good. Is he is Xenakis over there? Is that what everyone's waiting for? Oh. Robin why why Nick Nick why why is he so hip? Why does Xenakis why does he have this whole hip thing going. Yeah, look. Most composers I asked Bruce he didn't know. Most composers... he knows, he knows what's going, no seriously, so many we go to so many New Music shows. We're always like half the age of anybody there. Is that right? What is it? Now Nick it. Yeah, it rocks it rocks and it rolls. Right Nick? What do you think seriously. It's accessible, isn't it? It's less accessible, say, than Bang On A Can which is a lot more accessible and rocks also. It has a lot more rock connections. I'm going to the opera Monday so I'm missing that. Bruce and I are going to see Romeo and Juliet. It should be good. No, it should be good. I went to the last Bang On A Can show and it was wonderful, wonderful. Yeah, I love yeah. Nick, do you like those guys, the Bang On A Can stuff or not really? The last show was just consistently, every piece was wonderful. Maya Beiser. Wonderful. We don't have her CD at the station. No, she's on Koch also, I mean I'm I'm surprised she does a Ustvolskaya and a Gubaidulina piece. By the way, I've been taking all the classical CDs and have been beefing up our classical CD section. I've been moving things when I find them. Gubaidulina is now filed under classical, thank you. If you if you do the same if you see anything that's clearly like Xenakis is never filed in our X section. I know but but do Xenakis and Berio end up in our classical section and and Partch and Cage and Gub.... well you wanna just then let why don't we meld why don't we meld it all together. Yeah, those are compilations and that stays in the comp room. I'm I'm all for either putting them in or getting them all out. What do you think Nick? Get ‘em all out, huh? Or put them back in? Station politics. OK, yeah. Hey, see you soon. Nice to see you, alright? Robin, so we'll... I know I feel bad that I stood that he got it... oh, I'd like to do it... oh. Oh, no I would. I'd like to but I think Carl Stone shouldn't be on in the middle of the night, major major musical figure should be on somebody's show. I mean, nobody's gonna hear him in the middle of the night. Well, I'll tape it if somebody wants to play it during their show. I mean the man should be prime time. Yeah, I mean I'd put him on in the middle of the night. It's a waste, I mean, nobody's listening but, you know, what the fuck. I'd like to. Bye. Hi hi hi. Hi Fabio. Hi Tom. You did a nice fill in the other night what was that crazy thing you were playing that was, uh, this this thing about shadows? That was very good. Where do we have it in the library? How you doing? Alright. How was the show? Yeah. Pretty rich. Pretty rich stuff, yeah. Yeah, it was beautiful and the second one I liked a lot as well, they're some really really punchy pieces, aren't they. Well, they got a good crowd here Robin's here. Robin and Nick Marantz, yep. Are you heading out tonight? What are you playing, any any of this? We'll be listening. See you guys later. Are we talking about are we talking about the artworld's inability to read? They don't read and they don't listen to music. They they they we went. There's no there's no, right, there's no acknowledgment multiculturalism. So, do you wanna get some food Cheryl or... ? Let's go down. You know that that FMU group is the most socially awkward. Well, I mean that's about all you can talk about with them it's like, Nick, why is this music so hip? At least I ask questions. It clams them up. That's a nice little house, huh? It intimidates them. I don't intimidate anyone. Are you trying... no ball playing please. I are you trying to teach me how to be a good teacher?