Originally published on Mon March 25, 2013 1:35 pm
It was 1569, or maybe early 1570, when it happened: A young French gentleman was out for a ride with his workers, all of them on horseback, when suddenly, "like a thunderbolt," he felt something thick and fleshy slam him from behind. (It was an overzealous, galloping assistant who couldn't stop in time.) Michel de Montaigne's horse crumbled, he went flying up, then down, he crashed to the ground. Then things went black.
A woman sits on a bed in a dim, wallpapered room. There's an old rotary phone on a nightstand, a prescription pill bottle by the foot of a lamp. Her long wavy hair is brushed back, and the moonlight peers in from between the curtains, illuminating the flowery pattern of her nightgown and the small tattoo on her fleshy arm. Curled sleeping on the bed is a baby, and the woman's head is turned towards the child. But the expression on her face is unclear. Perhaps it's a look of resentment and exhaustion, of alienation and despair.
Originally published on Wed November 14, 2012 4:41 pm
There are those who consider John Cage to be one of America's most important avant-garde composers, and consequently the recent flurry of celebrations and album releases honoring what would have been his 100th birthday continues. On the other hand, many conservative listeners tend to dismiss his pieces as preposterous gimmickry, rendering the performers little more than Foley artists.