Take That, Moon!

You'd think they think there's oil there or something...

The one from 107 years ago was more exciting, really.

They melt in your codpiece, not in your hand.

The sage and inquisitive Marie Evelyn asks me why KISS didn't do an endorsement deal with Hershey's Kisses instead of M&Ms, to which I have no reply. But I do know that there's no damned Wal-Mart anywhere near me which I know we're not supposed to shop there but there's no where else to get them. I'm barely interested in the new album, but I want the goddamned candies.

My Bias

Mistress Katherine is the benefactrix of my show on WFMU (returning to the airwaves this Sunday at midnight), and is a relentless questioner of my actions and motives. She wrote to grill me about these "High Bias" interviews, and I thought I'd answer here.
 

Has anyone ever said your review changed the way he approached his work?

No, but musicians have asked my opinion about what future directions or career moves they should consider.
 
Has anyone asked you to review his work? 

Yup.
 
Has anyone ever written to you about your review of his work? What sort of responses have you received?  Were you surprised by their reaction?  Did they change the way you write your reviews? 

I have occasionally received notes of thanks. I don't recall anyone contacting me directly about a negative review. I have had artists take offense at factual errors, or sometimes what they perceived as factual errors but really amounted to semantic hair-splitting. Over the years I've learned to write less opinion and more context, but I don't think that has much to do with the reactions of anyone in particular.
 
Has anyone ever asked you not to review his work?

One musician made that request to the editor of a publication I write for. He later bummed a cigarette off me, so I think that hatchet's buried.
 
Have you told a friend that you couldn't review his work because you are too close to him?  This question is more interesting to me posed to the music reviewer.  Have you had a friend upset with you for not wanting to get involved "promoting" him?

I've never had the conversation. I assume there's cases where it's clear and understood, and some where it's less so.
 
Has an artist ever accused you?  The question you asked the artists - if they ever felt a writer was trying to get something out of him, or get back at him, or had some ulterior motive in what they wrote.  It sounds like there is a story behind your question.

No real story. But I do wonder a lot about the lines. There are musicians who I like quite a lot and who I am friendly with. I try not to cross what I feel to be lines, but I feel like I exist in an enormous gray area.

When I was doing "straight" journalism, local politics at local papers, the lines were very clear. But in a small, global arts scene it would be weird to be unfriendly or overly formal. I guess that's what prompted me to do this to begin with.

High Bias #4

NAME: Alessandro Bosetti

HOME: Berlin

BIO: Alessandro Bosetti was born in Milan, Italy in 1973. He is a composer and sound artist working on the musicality of spoken words and unusual aspects of spoken communication, producing text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves across the line between sound anthropology and composition, often including translation and misunderstanding in the creative process. Field research and interviews build the basis for abstract compositions, along with electro-acoustic and acoustic collages, relational strategies, trained and untrained instrumental practices, vocal explorations and digital manipulations. Recent projects include African Feedback (Errant Bodies press), the interactive speaking machine "MaskMirror" (STEIM, Kunstradio.at a.o. ) and an ongoing project on linguistic enclaves in the USA. Alessandro Bosetti  lives between Berlin (Germany) and Baltimore (USA). 

WEBSITE: http://www.melgun.net/

Do you read reviews of your work?

if i notice them yes. sometimes i don't buy the magazines and don't know about it. i wish journalists would drop a mail about it sometimes...

Do you reread them? Save them? Quote them?

sometimes. 

Have reviews ever had an effect upon the way you approach your work? For better or worse? How?

after chewed they transform into organic compost that transforms into energy unless toxic.  

Are there writers you hope will (or won't) write about your work?

yes, both cases. 

Have you ever written to a reviewer or publication in response to a negative review of your work? a positive one?

i did it, but not in regard to positiveness/negativeness. 

Are there reviewers who you consider to be your friends? Do they write about your work? How does that make you feel?

friends. a big word. well, why not. 

Have you ever been told by a writer that they feel too close to you personally to write about your work? What was your reaction?

never happened. 

Have you ever felt that a writer was trying to get something out of you, or get back at you, or had some other ulterior motive in what they wrote about you? Please explain.

maybe it happenend. i forgot. 

Have you ever published anything you wrote about someone else's music? How often? Do you continue to write about music?

very seldom. i write about stuff, constantly, not necessary music.  

Do you think there was a time in the past when music journalism was better or worse than it is now? Why or why not?

at the times of brahms. they knew the grammar. 

Anything you'd like to add?

no

Anything you want to ask me?

kurt, can I touch your fingers ?

What It's All About

Nina Simone

Suzanne Fiol

Right now, still reeling with shock, I am trying to (and failing to) think of anyone I've ever known who gave as much of herself for other peoples' art as did Suzanne Fiol. She was a talented photographer as well, but she had a vision of a place where experimental music, film, theater, performance and visual art could co-exit. And really, it's ridiculous that there wasn't such a place before she took over a windowless storefront in the East Village owned by Issue magazine and began booking shows there.

Suzanne saw that vision through disputes with the magazine, with landlords, and through three locales, working to the end to make Issue Project Room one of the most important art spaces in town. Her lasting memorial will be the space's permanent home at 110 Livingston, slated to open in 2011. Go see shows there, donate to the building fund, and let them know there is much support to see them through.

இ லவ் திஸ் சாங்

here it hear.