To conclude “Coming Together: Attica 50 Years On,” Blank Forms presented a day-long May Day radio show commemorating the 1971 Attica rebellion. Celebrating the 50th anniversaries of both Archie Shepp’s Attica Blues and Frederic Rzewski’s compositions “Attica” and “Coming Together,” the show featured key compositions and political recordings from the 1970s, including a rare concert of Rzewski’s Attica works with Julius Eastman, Sonia Sanchez reading at the prison accompanied by incarcerated poets and musicians, and a post-mortem from Bobby Seale about his participation in negotiations at the prison. Hosts Ciarán Finlayson and Lawrence Kumpf interviewed Renée Levine Packer, author of This Life of Sounds: Evenings for New Music in Buffalo (Oxford University Press, 2010); Glo Harris, wife of Beaver Harris; and Michael J. Hull, director of the film Betrayal at Attica (2021) and custodian of the digital archive of Elizabeth Fink's Attica Brothers Legal Defense evidence collection—writer Isaac Brosilow conducted an interview with Joshua Melville, son of Attica Brother Sam Melville. This event was produced in conjunction with the New York University Steinhardt Department of Art and Art Professions.

Coming Together: A Mayday Broadcast

American pianist Richard Valitutto presents his solo album Nocturnes & Lullabies out on New Focus Recordings.

http://www.richardvalitutto.net/
https://www.newfocusrecordings.com/catalogue/richard-valitutto-nocturnes-lullabies/
https://www.newfocusrecordings.com/

Ep. 100: Richard Valitutto – Nocturnes & Lullabies

What happens when we unplug our headphones and listen to our surroundings? Hear from Emeka Oghboh, a maker of multisensory artworks, about his process for making soundscapes based on his experience of city life. 

Pictured: Emeka Ogboh. *Lagos State of Mind III*. 2017/2020. Eighteen-channel sound installation (35:25 min.), painted wall, galvanized steel and aluminum street sign, U-Bahn metro sign, concrete slab, and vinyl wall graphic, dimensions variable. The Museum of Modern Art, New York. Fund for the Twenty-First Century. © 2023 Emeka Ogboh

Ten Minutes with Emeka Ogboh: On Active Listening

Escuchar con las manos, ver el olor de la tierra con los dedos, saborearla con la piel.
Que la mano levite y se deslice suavemente sobre la superficie.
La tierra es tan frágil como nosotros.
Si la dañas, me dañas, te dañas.
Tocar la tierra es ser tocado por ella.                                   
—Delcy Morelos

Instrucciones para tocar la tierra - Español

beingburrows
[confiding a shadow]

Excerpt from a 17' piece for ensemble, transducers in vessels, and subwoofer.

beingburrows [confiding a shadow]

Splinter Reeds

"Imagine" was inspired by Yoko's 'Grapefruit'. There's a lot of pieces in it saying, like, "Imagine this" or, "Imagine that." If you look, if you get a copy of 'Grapefruit' and you look through, you'll see where I was influenced by her. And I know she helped on a lot of the lyrics but I wasn't man enough to let her have credit for it, so that song was actually written by John and Yoko. But I was still selfish enough and unaware enough to take her take her contribution without acknowledging her. Because I was still full of wanting my own space after being in the room with four guys and always having to share everything - you know, share shirts, share the same dry cleaner, the same everything, so even when Yoko would wear the same colour as me I used to get madly upset and say "It's like the fucking Beatles,  we're not Sonny and Cher, don't dress..." you know, so I wouldn't even let her dress, even if she accidentally chose the same colour outfit as me.

[The song itself] expresses what I'd learned through being with Yoko and my own feelings on it. 

Excerpt from interview with David Scheff, Playboy Magazine, 1980.

John Lennon -  "'Imagine' was inspired by Yoko's 'Grapefruit'"

excerpt of 52 min. recording of the last in the series Prisma Interius on New World Records:
web page: http://www.newworldrecords.org/album.cgi?rm=view&album_id=95221

for: Ensemble Dedalus

Didier Aschour (electric guitar)
Amélie Berson (romantic flute)
Cyprien Busolini (viola)
Yannick Guédon (voice, treble gamba)
Thierry Madiot (bass trombone)
Pierre-Stéphane Meugé (secondary rainbow synthesizer)
Christian Pruvost (trumpet)
Silvia Tarozzi (violin)
Deborah Walker (cello/voice)

recorded and mixed by Benjamin Maumus at Centre Pompidou, Metz, France, July 2018

mastered by Paul Zinman

image by Uta Neumann

Prisma Interius IX (2018) excerpt

Henry Delargy, percussion
María Alejandra Bulla, synthesizer

Inner Space I

María Alejandra Bulla

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