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Feed; M. T. Anderson

Quick read. Made me very depressed. It's sort of a 1984/BNW for young adults (although, we all read those as young adults, so the genre label is a little unfair). Many of the scenes are as bleak as those two anti-futures, with a more relevant, timely grimness. The future is defined by a combination of corporations taking over American schooling ('cause state-supported education is so Nazi) and the near ubiquity of brain implants providing internal internet, chat, entertainment, and pushed, personalized advertisements. Once knowledge is always available and without effort, learning is abandoned. There are many scenes where the female protagonist wonders why culture appears shallow and moronic only to her. This attitude doesn't need to be set in the future to ring so true.

To me, the technological possibilities--even when presented as such a destructive force--were fascinating. Late in the novel our heroine marvels sadly that, when she doesn't try to hide her preferences, the corporations' product-recommendation algorithms actually did work better than her own choices. Something we think we want can give us what we want and yet still be destructive.

I liked the Uglies series better but only because it wasn't nearly as depressing.

"Throwing away a perfectly good white boy..."

Elodie Lauten wreaks havok with her wonderfully depressing question to fringe composers: Are we better off dead? Responded quickly by Beth Anderson who replies (kindly) I’m not willing to stop composing just because the world isn’t paying me for it. And she isn’t either, even though she has not yet discovered the logic to support her activities. And finally by Corey Dargel who points out (one of the few truisms that constantly needs to be pointed out) We keep composing because we can’t not compose.

An image my painting teacher always used, and one that I will always remember, he stole from the opening lines of Blake's "The Tiger." We can't stop, because there's something in us that's burning and keeping us illuminated. The religious connotations of Blake's lines parallel Corey's observations that [art's] primary value lies in the spiritual realm. I've often said this--perhaps too often, and perhaps too drunk--to friends. I guess it might be annoying if it wasn't coming from such an atheist.

That being said, I don't think Elodie gets enough credit for her observations. It's wonderful to really enjoy striving to realize what's in you, but the need for others' acceptance shouldn't be ignored.

Currently Listening To

Still listening to The Who Sell Out (still loving it), and just beginning an arrangement of "Our Love Was" which I'm completely smitten by. But--gotta move on. I have been waiting for an Amazon shipment of several CDs of Shostakovitch preludes and fugues, but they are still weeks away. Gah.

I've been really sweating over the "Starship Trooper" arrangement, so let's get some more Yes in my head to seal the deal. Close to the Edge and Relayer are both the Rhino re-release with a few b-sides and demos (studio run-throughs). I've always drooled over doing a piano/voice arrangement of "The Gates of Delirium." Hearing the studio run-through provides some insight into the process of the song, but it's still far off. I was blown away to read in the liner notes that Jon Anderson was the primary composer of Gates. Patrick Moraz (the keyboardist) comments:

Jon actually led me through the compositions and through the core of the arrangement and the construction of most of the themes of 'The Gates of Delirium,' which were composed by the time I came in. Not all of it was complete, but everything was in his head. I think he had the plan for the whole symphony. It was like a symphony. In the world of rock 'n' roll, although very influenced by The Beatles and the English music scene at the time, I always acquaint Yes with what Stravinsky would have dona as a rock musician. Yes music has that kind of symphonic approach and arrangement. The sophistication of the orchestration is absolutely staggering.

This from someone who worked on the album, but all the same. I never considered Anderson the "big picture" kind of composer. The Close to the Edge album has a similarly illustrative run-through of "And You & I" and "Siberian Khatru."

Decided also to re-investivate the backgroundy-but-enjoyable Kid A from Radiohead. Brad Meldau played the opening track at the recent Variety Playhouse concert, so it's been in my head. Its simple harmony was used as an example of modal mixture in rock in a recent MTO article (which I tried to make sense of back in January).

Finally, Schnittke's Concerto for Two Pianos and Concerto for Cello. I can't pretend to understand his manic shifting of harmonies, but that's what makes it so compelling. And I-shit-you-not I actually find myself humming melodies (as best I can) from the cello concerto. He reminds me of the harmonic "wow" I felt when I first heard (and still feel when I listen to) Messiaen.