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Steven

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Reply with quote  #1 
This post may be inappropriate for the forum.  If it is, please let me know.  

I composed an art book.  The book has two colors, pink and blue.  The book consists of the front and back covers and pages.  Each page is a postcard surrounded by Japanese manga flowers.  On each postcard, there is a phrase.  The phrases form a dialogue between a nemophila (baby blue eyes) flower and a cherry blossom.  I would like the book to have cloth covers.  It would be bound with a pink ribbon tied in a bow in the upper lefthand corner.  It would be like a beautiful Japanese arts and crafts scrap book.  However, I have not had the book printed because the owner of the print shop in Manhattan with whom I am working told me that it would cost about $200 a book to print with cloth covers.  If I sold a book for $10, I would lose more than $190 per book.  

I think Brian would like the book.  I would like to email him a PDF copy of the book.  Is there a way to do that?  Also, I think people who like Brian's music would like the book. 
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John B

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Reply with quote  #2 
Sounds pretty, anyway, how about letting us see? 
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Steven

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Reply with quote  #3 
I don't know how to post a PDF on the forum.  Also, It would need to be interactive so that you could see both covers and the pages in-between.  But I hope that you would like it.

Wouldn't it be nice if Brian put some of his new musical bits on the Internet for everyone to see?  
  
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John B

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Reply with quote  #4 
thanks for saying that about posting download things, Steven.!   Me, too.  I was afraid I was the only one.  But I still win anti-tech honors over you, don't I? since I live in Tall Tree, down the hill from HP and The Farm's Satellite dish, almost to FB, but not quite, and see movies next to GOOG, yet I don't own a cellphone, neither smart or non-smart.  You should see me at my kids' games: I'm the one with eyes towards the action, rather than on my own lap.  I have never texted, nor tweeted, nor instagrammed myself-y.
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Steven

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Reply with quote  #5 
If someone tells me how to send the PDF copy of the art book, I will do so.  I hope you will like it.  It looks nice. 
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k4corwen

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Reply with quote  #6 
Peddle off please and don't spam this web site!
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John B

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Reply with quote  #7 
K4C: how do we know if YOU'RE not a [smile]spammer?

besides, if peddling is a reference to bicycle riding, good fitness should not be disparaged. 
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k4corwen

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Reply with quote  #8 
You mean you have never heard of a peddler? [smile] I just come here to read messages about Brian Wilson, not to promote my own agenda for financial gain.
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Steven

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Reply with quote  #9 
Several responses to my post are so irritating that I thought of a long response, but I will limit myself to my basic points.

1.  I proposed that people who love the music of Brian Wilson could create their own music, art works and writings and share them with others in the Brian Wilson community.  I think Brian Wilson would love that.  

2.  I did not propose to sell my art book by means of the forum.  That is the opposite of what I intended.  One kind person suggested that the art book which I described sounded nice and that I share it.  That post caused me to think that I and others could share our art works and music using the forum.  It really does not matter, but my art works are in the collections of the Museum of Modern Art and the Whitney Museum in New York, and my art works are in several other museums, and have been and are shown and sold by art galleries, and I have worked with some of the greatest American artists of all time.  My purpose was simply to share the art book with other people who love the music of Brian Wilson and to see their art works and hear their music.  I would like it best if I were anonymous in this.  I know artists, including the greatest of them.  I know musicians, mostly classical musicians, but also other musicians.  We are open.  We have interest in art and music.  We may welcome an opportunity to create with other people.  

3.  The few people who told me not to spam or peddle are identical to the people who ridiculed Vincent Van Gogh.  Brian Wilson did not complete Smile because Mike Love did not like it and Brian Wilson feared that other people would not like it because it was too "experimental".  The people who shut me down are the same as the people who would have scoffed at Smile.  I do not need your condescension or snide remarks.  Unless you happened to see some of my art works in a museum or gallery, you have never seen any of my art work.  You just made insults for the joy of it.  

4.  I learned my lesson and assure you that I will not bring up this topic again and certainly that I will not post any art works or music in this forum.  If anyone who loves the music of Brian Wilson is interested in sharing your art works and music and exchanging creative ideas, then we can do so by email.  As for those who sneered, you needn't be involved.

Changing the subject, I wonder if Brian Wilson ever listened to the recordings of Glenn Gould.  Glenn Gould may have been the greatest pianist of all time.  He excelled at playing the music of J.S. Bach on the piano.  I first heard the music of Glenn Gould when I was driving in the evening in Upstate New York.  The music was so arresting that I had to pull over, stop the car and listen to it.  I especially recommend Glenn Gould's recording of the Goldberg Variations which was recorded during the last two years before Glenn Gould's death.  Glenn Gould burst into international acclaim with his recordings of the Goldberg Variations in the 1950s, when Glenn Gould was quite young, but his last recordings, which again were of the Goldberg Variations, are even better, they are beyond compare to any other recording I know of, and I am sure that Brian Wilson would love it.

Here are some interesting points.  In 1964, after the episode on the airplane, Brian Wilson quit touring and devoted himself to composing the songs which became know as Pet Sounds, and later, Smile.  In 1964, Glenn Gould stopped giving concerts since he opposed flamboyant showmanship involved in concerts and focussed instead on studio recording of pure music.

Glenn Gould would think about a Bach piece, analyze it for weeks, and then play it.  His technical virtuosity permitted this.  He was almost inhuman in his technical and musical virtuosity.  Glenn Gould developed the approach of "take twoness".  He used the studio as an instrument.  Glenn Gould would record more than twenty takes of a piece and then splice moments together to make the perfect recording.  The recording did not pretend to be a recording of one live performance.  Glenn Gould was using the studio as an instrument to create the best possible recording.  And "best" does not mean the most impersonal perfect rendition, but rather the best recording taking into account the humanity of the piece and reflecting the genius of Bach and Glenn Gould.  

Brian also recorded many sets with the Wrecking Crew.  The sets allowed Brian to evolve in his hearing of a piece. Brian spliced different bits together.  "Good Vibrations" was recorded in different studios and over a period of time.  

It would be interesting to ask Brian how he decided the order of the bits he recorded and how they fit together.  Of course, it relates to the sounds Brian heard in his ears and mind and memory.  YouTube interviews say that different orders of bits were discussed by Brian and his musician friends and Brian decided.  I have not read or heard an interview of Brian in which he discussed this.

Modular music, as Brian accurately referred to it, also was composed by Bach and, in the twentieth century, by Steve Reich and other musicians.  Artists such as Donald Judd, Sol Lewitt and Agnes Martin created modular art works.  It would be great if Brian gave an interview or wrote something regarding modular music and how "Good Vibrations" and Smile worked by ordering modules so that the whole piece has integrity and wholeness instead of being a mere sequence of modules.  It reminds me of biochemistry and physics and math, but it is music and art.  It is human.  Brian's music increases the humanity of the listener.

Brian Wilson said that he would like to compose music that people would listen to as a prayer.  I wonder if Brian Wilson ever listened to Bach's St. Matthew's Passion.  I am not a Christian but nonetheless am transformed by this supreme piece.  Brian Wilson would love it. 

Hearing some of Brian Wilson's instrumental pieces in my mind, I wonder if Brian Wilson ever heard Ligeti's "Atmospheres", composed in 1961.  It is gorgeous.  It is not modular.  It is singular, like a galaxy in the universe.  It is atonal but not dissonant, since the tones relate to one another.  And yet, although written for an orchestra, no musician plays the same notes as any other musician.  And yet, it creates a still, magnificent, consistent phenomenon in space.  Movement is stillness and stillness is movement.  I think Brian would like it.  It makes me see sound and colors. 

 

 




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John B

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Reply with quote  #10 
yes, I vote for new comers are good, not bad. 
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Al Forsyth

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Reply with quote  #11 
Steven,

Let's try option #1 and I'm sorry that I didn't look at this sooner.  If you go to this over-all forum - the 
 
 
AND find the email address, click on it for Administrator.  I won't give away his first name so maybe just call him Admin (Brian's picture is his avatar).  See what he can come up with for helping you.  I have option #2, but let's see how this goes first.  If you attach the pdf to Admin's email it should go through and maybe he can post some or all of it but is there anything copyright about it? 

He is awesome and runs this WHOLE BrianWilson.com. See what he thinks about this. 

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paul g adsett

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Reply with quote  #12 
well, you've diverted your initial faux pas into a multi-purpose set of discussion topics.
it's the sort of stuff that this board  should embrace and dive into.
when the old blueboard was revamped, it could've been a real forum for discussion .
yet, sadly, it's not even a gushy lovefest,
nor achieved the bitchy scratchyereyesout of other boards.

shame tou misjudged your original post, squire
- fair got up a few noses by achieving a dicky landing.
i, too, thought you were but a new interloper touting your wares.
i give you as much benefit, nay more, of any doubt
that your motives were squishily and glitteringly shinier than
any current british or us politician.
but, even if you're prepared to forego any copyright / reproduction rights,
i somehow doubt that this place is one where such outpourings will be mingled
with gay abandon.

but, since you mention mr gould,
i cannot but agree with the main thrust of your point,
and, maybe, comparing troubled minds,
however - interpreting another's work,
however skillfully or wantonly,
doesn't quite equate with compositional talent.
discuss...

cheers 

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Al Forsyth

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Reply with quote  #13 
And Steven, what about Brian Wilson as a Fluxus artist with Smile - constantly changing and reforming into something different?  
https://www.artsy.net/article/artsy-editorial-fluxus-movement-art-museums-galleries
https://pitchfork.com/reviews/albums/8781-smile/

You are an artist, after all.  

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paul g adsett

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Reply with quote  #14 
al
- not sure he'd be rejecting the recognisable, um, elements of popular music
but certainly wasn't averse, in those heady 60's,
to tinker and explore
(though it wasn't bw who uttered 'don't f with the formula'),
'vegetables'
with it's crunching, would certainly fit into the fluxus ethos.
the unrealised comedy recordings suggest a touch of dada
and, in some ways, the noodling behind the poems of stevie kalinich
'a world of peace must come'
 explored some of these experimental areas.

over on the east coast, there was a lot of it going on.
now, if bw has hooked up with, eg lamonte young
and yoko ono...
(hmmm, john cale, of  course, is a big fan...)

too early in the morning to be pondering all this,
but i woke up and...
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Al Forsyth

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Reply with quote  #15 
Paul A - and I was dreaming last night of the "Wilson Variations"/Smile and how this unrealized work in it's time was tooooooo far ahead of its time.  But The Smile Sessions told us the story in fuller detail - first really evidenced with The Good Vibrations box set - that this was largely a done deal - but was it?  

When exactly did Steve Kalinich come in with Brian?  I thought that it was later (well after Smile).  

The image of Yoko and Brian would have been a difficult one to imagine.  Or Andy Warhol and Brian. Thank goodness for our separation by coasts. 

Brian was all about tinker and explore and try and change the recording rules via the studio that he was beginning to know and understand all too well. 

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