AUDIAanderson5 - Jerome Joy website

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!!1977 — Stereo Song for Steven Weed ---- — — ''part of the series of songs available to be played on discs (45 rpm single) via the jukebox machine at the Holly Solomon Gallery in New York for the Jukebox exhibition.''{br}— — ''and part of the series of photographs coupled with texts (song sheets) at the Holly Solomon Gallery in New York for the Jukebox exhibition.''{br}{br} \|t [../files/articles/anderson/1977_stereosongstevenweed.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''This song tells the story of Patty Hearst’s boyfriend being interviewed by two F.B.I. men. Placed between them, he finds himself turning from one to the other to answer their questions.{br} « He said that after a few hours, he realized he’d been shaking his head the whole time, and that no matter what answer he’d given - yes or no or I don’t know - the answer had always been no ».{br} The song is scored for two microphones and speakers on opposite sides of a small room, and is accompanied by a photograph of Anderson looking two ways at once - ^[the photo superimposes two images to show Anderson, Janus-like, facing two opposite directions, speaking into two separate microphones^]. Text, lyrics, photograph, score, and one’s image of « stereo » space begin to resonate as though they were all part of a harmonic mode with dissonant overtones. You get so wrapped up in thinking about Anderson’s dislocations of meaning that you can almost miss the fact that ''Stereo Song for Steven Weed'' is a powerful fable about passive resistance to interrogation.{br} Gradually you begin thinking about the prevalence of interrogation in the modern world, about its importance on preserving ugly governments. ''Steven Weed'' becomes a parable of the future, when yes and no - in other words, one’s right to individuality - don’t matter any longer in a macroworld dominated by forces greater than human will.'' — {small}(Kay Larson, Something Future, Something Past, In New York Magazine, July 23, 1984, pp. 48-49 ; and also : Kay Larson, The Patter of Little Feats, In New York Magazine, October 12, 1981, pp. 78 & 81){/small}\| {br}{br} {br}{br}
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