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!!1977 — Jukebox ---- \|t \|t ''— — ''Jukebox''. Jan. 1977. Audiovisual installation. Holly Solomon Gallery, New York. The exhibition comprised twenty-four 45-rpm records in a jukebox and photo/text wall panels.''{br}— — '' ''Jukebox'', Dec. 1983. Exhibition : Laurie Anderson, Works from 1969 to 1983: October 15-December 4, 1983, Institute of Contemporary Art, University of Pennsylvania''\| {br}{br} \|t \|t [../files/articles/anderson/1977_hollysolomongallery_1000.jpg]{br}{small}(Laurie Anderson, "Untitled", January 1977, installation : Holly Solomon Gallery, photo : Harry Shunk){br}'''[Download a large picture\|https://jeromejoy.org/files/articles/anderson/1977_hollysolomongallery.jpg]'''{/small}\| {br} — ''In 1977 Laurie Anderson developed her unique mix of popular and "serious" art further with an environmental-music piece at New York's Holly Solomon Gallery. Anderson hung illustrated song sheets on the wall and installed a commercial jukebox that was loaded entirely with her own songs and music. The musical style that Anderson takes on falls into the minimalist category with pop rhythms. She combines vocals, violin and electronic modifications of voice and music, just to name a few of her performance components. This results in a mix of minimal, new wave, spoken text and projected images. Her lyrics, while a necessary element, need music with them to make an effective impact.{br}^[Such in ''Dearreader'' (1975) — à vérifier^], Laurie Anderson showed a series of photographs coupled with texts at the Holly Solomon Gallery in New York. An unusual feature of the show was the presence of a large jukebox in the room : viewers could listen to songs available to be played on discs via the jukebox which contained twenty-four 45 rpm singles.{br}— — ''JukeBox'' was an exhibition of texts with photographs and 45rpm records in a juke box. At first the gallery was charging 25 cents for each song but there were a lot of complaints at the opening so after that they were free. Among the musicians on these early recordings are Peter Gordon on saxophone, Scott Johnson on guitar, Ken Deifik on harmonica, and Joe Kos on drums.''{br}{br} \|t ''— — As Tom Johnson described the ''JukeBox'' installation in his Village Voice column in 1977, Laurie Anderson soon adapted the technology of permanence of music to her art.'' — {small}(In Contemporary Musicians - Profiles of the People in Music, Vol. 1, edited by Michael L. LaBlanc, Detroit, MI : Gale Research, Incorporated, 1989){/small}{br}{br}{br}{br}[../files/articles/anderson/1977_hollysolomongallery2_350.jpg\|../files/articles/anderson/1977_hollysolomongallery2.jpg]{br}{small}(Laurie Anderson ‎– It's Not The Bullet That Kills You - It's The Hole / Break It - 45 rpm - [Holly Solomon Gallery ‎– 004, 1977\|https://www.discogs.com/fr/Laurie-Anderson-Its-Not-The-Bullet-That-Kills-You-Its-The-Hole/release/2314478] - The limited pressing of “It’s the Bullet That Kills You-Not the Hole”, was less than one hundred copies.) {/small}{br}{br}{br}---- {small}{cap}Jukebox{/cap}{/small}{br}---- {small}{br}{cap}1 — '''Speak Softly but Carry a Big Stick : A Film Song in 24/24 Time (Turn the Other Cheek, but Carry a Big Stick)''' — (3:07){/cap} - ^[A phrase by Theodore Roosevelt^] - ^[for a tape bow on pick-up violin^]{br}{cap}2 — '''(The Window) The Wind -oh !''' — (4:10){/cap} - ^[Film/song for voice and violin^]{br}{cap}3 — '''Talk to Me (Lucille)''' — (3:00){/cap}{br}{cap}4 — '''Like a CB''' — (3:01){/cap}{br}{cap}5 — '''Break It''' — (4:37){/cap} - ^[[Listen\|https://www.youtube.com/watch?v=kEjGRurrvl8]^]{br}{cap}6 — '''Stereo Song for Steven Weed''' — (1:55){/cap} - ^[This song tells the story of Patty Hearst’s boyfriend being interviewed by two F.B.I. men.^] - ^[This song is scored for two microphones and speakers on opposite sides of a small room^]{br}{cap}7 — '''Files in the Eyes of a Baby''' — (4:03){/cap}{br}{cap}8 — '''Time to Go (for Diego) : A Film Song in 24/24 Time''' — (2:45){/cap} - ^[[Listen\|https://www.youtube.com/watch?v=zc40jbEDLsg]^]{br}{cap}9 — '''Man in the Empty Smoke''' ^[or : Man in the Empty Space - ?^] — (4:40)-{/cap} - ^[for voice, organ, percussion^]{br}{cap}10 — '''New York Social Life''' — (3:20){/cap} - ^[[Listen\|https://www.youtube.com/watch?v=mLoBpWmMFnQ]^]{br}{cap}11 — '''Art and Illusion''' — (3:40){/cap}{br}{cap}12 — '''Is Anybody Home''' — (4:25){/cap} - ^[[Listen\|https://jeromejoy.org/articles/anderson/1977_isanybodyhome.mp3]^] - ^[for boot horn, camera, stairs, piano, and voice, Peter Gordon: clarinet Joe Kos: drums Scott Johnson: bass Laurie Anderson: voice, violin^] {br}{cap}13 — '''If You Can’t Talk About It, Point to It''' (For Screamin’ Jay Hawkins and Ludwig Wittgenstein) - or - (for Ludwig Wittgenstein and Reverend Ike) — (1:30){/cap} - ^[A quote from Ludwig Wittgenstein^] - ^[one ninety-second composition featuring a stuttering vocal track modified by frequency shifting^]{br}{cap}14 — '''Video Double Rock''' — (1:58){/cap} - ^["Video Double Rock" poses and then solves the syncronization problem in an outrageous, yet oddly mundane audio-visual occurrence.^] - ^[Laurie Anderson : "I usually watch TV in a rocking chair, and I have noticed as the chair moves, the image bends at the edges. A good solution is to put the TV in another rocking chair that is in sync, so that the image stabilises." A video composed for 2 violins that go in and out of phase.^]{br}{cap}15 — '''One Day in Dallas''' — (5:29){/cap}{br}{cap}16 — '''Quartet for Sol Lewitt'''{/cap} - ^[for four violins, from a drawing by Sol LeWitt used by Laurie Anderson to generate musical note values^]{/cap}{br}{cap}17 — '''It's Not the Bullet that Kills You — It's the Hole - (A Reggae Tune for Chris Burden)''' {/cap}^[[Listen\|https://www.youtube.com/watch?v=-zA6LL78KYU]^]{br}{cap}18 — ? — '''Black Holes''' — or — '''Trophies'''{br}{cap}19 — ? — '''From Photography and Good Design''' ^[The text of From "Photography and Good Design," 1977, begins as a cynical account of a love triangle, but ends in pathos.^] — or — Tape Bow : ETHICS IS THE ESTHETICS OF THE FEW-TURE (Lenin) (two songs for tape bow violin){/cap} - ^[[Listen\|https://jeromejoy.org/articles/anderson/1977_twosongsfortapebowviolin.mp3]^]{br}{cap}20 — ? — Tape Bow : SONG FOR JUANITA (two songs for tape bow violin){/cap} - ^[[Listen\|https://www.youtube.com/watch?v=6ZyXwcsboGs]^]{br}{cap}21 — ? — '''sh'''{/cap} - ^[Voice, Tape ^[Thunder^], Piano – Laurie Anderson^] - ^[[Listen\|https://jeromejoy.org/articles/anderson/1977_sh.mp3]^]{br}{cap}22 — ? — '''Buy Buy Write : A Film Song in 24/24 Time'''{/cap}{br}{cap}23 — '''Fast Food Blues''' - (3:34){/cap} - ^["Fast Food Blues" was an interminably long song/ complaint about photo documentation. It included a recipe for disposing of your past. Just wrap it all up And blow it up to wall size.^]{br}{cap}24 — '''Unlike Van Gogh''' - (2:50){/cap} - ^[Laurie Anderson : "it was a song called “Unlike van Gogh.” It was about that kind of writing because one of the reasons that I got fired—THE reason I got fired—from one of the jobs was because I made a point of mentioning van Gogh in all the reviews that I wrote because I just thought that his name should be in the foreground. I would just begin reviews, you know, with, “This artist, like van Gogh, uses yellow,” and then this editor finally said, “You know, not every artist can be usefully compared to van Gogh. Why don’t you take another tack on it?” So they all just started, you know, “This artist, unlike van Gogh, does this.” So I stopped writing after I was fired. I guess I really didn’t have a choice.^] {br}{cap}? — Converse Song #5{/cap}{/small}{br}---- {small}(In Laurie Anderson, Works from 1969 to 1983: October 15-December 4, 1983, Institute of Contemporary Art, University of Pennsylvania, Catalog of the exhibition, 96 pages.){/small}{br}---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {br}---- ''Anyone who wandered into the Holly Solomon Gallery last month was confronted by, of all things, a jukebox. It was a big stereo model, all lit up in the usual way. If you pushed a few buttons, it would play any one of 24 singles by Laurie Anderson, and the day I was there you didn’t even need to feed it quarters. On the walls of the gallery were a number of wall hangings, also by Anderson. Most of them were first-person anecdotes, conveyed by a carefully lettered text and a photograph. Some of the wall hangings matched up with jukebox tunes, and some were independent. I had the feeling that the artist would probably have liked having a tune for every wall hanging, and a wall hanging for every tune, but that some of her ideas just didn’t quite lend themselves to both mediums.{br}{br}The singles on Anderson’s jukebox were in an artsy sort of semi-popular vein. Like most jukebox numbers, they were largely vocals, about three or four minutes long, and they generally conveyed a story or poem. But most of the other conventions of pop music were broken, if not completely ignored. Number 114, for example, was called ''[New York Social Life (see below)\|AUDIAanderson5#1977_____New_York_Social_Life]''. Speaking voices expressed insincere concern for one another, made casual unspecified lunch dates, and generally carried on in a cool, frivolous way, against a background of unpleasant, raspy string sounds produced on a tamboura. In ''Unlike Van Gogh'', number 143, Anderson related a personal story about working as an art critic. The music in the background includes a chant on the words of the title, a high plucking rhythm, and a bass line. Number 121 admitted a number of extraneous sounds, such as a boat horn and a parrot. Number 100 featured a talking jew’s harp that conveyed a text almost comprehensibly. Number 103, ''Like a CB'' lamented the intrusion of CB signals on home stereo equipment, and itself had a brief CB-type intrusion.{br}{br}Most of the songs had a personal, almost primitive touch in one way or another, but they were produced quite professionally. The stereo mix was often knowing, and Anderson sometimes overdubbed several vocal lines skillfully. Her violin playing came in several unusual forms, all of which she handled well, and she has real control over her singing when she wants to, as in number 102, ''Talk to Me (Lucille)''. She also made good use of Scott Johnson’s guitar and Peter Gordon’s sax on some numbers.{br}{br}There must have been an hour and a half of music in all, and since other gallery visitors kept selecting things I’d already heard, I could see that it could take all day to get through the complete repertoire. So I left before hearing everything, but not before gaining some clear impressions. Anderson is a good musician, and a good record producer, and though she seems to be steering a clear, strong path into a unique, semi-popular, semi-avant-garde area, she is also running into a dilemma. It has to do with one basic question: Is the gallery situation necessary to the music ?{br}{br}I began asking myself that question before I had even left the exhibit, and even after thinking about it for a couple of weeks, I’m not sure of the answer. I can’t help feeling, though, that the exhibit involved some contradictory motives, and I can’t help wondering just a little about the integrity of the project. If the art-gallery and jukebox situation is really necessary in order for the music to make its statement, then the music should not even be discussed except as a part of a multi- media exhibit, and it should certainly not be issued on an ordinary LP, as it apparently will be before long. On the other hand, if the music has its own integrity, then why bother to put it in a gallery situation? Why not just present it as music ?{br}{br}One can’t generalize about such things because so many works do function in more than one medium. Ballet scores become pure orchestral pieces, operas become record albums, books become movies, sculptures become theatre sets, and there is no reason why a gallery exhibit shouldn’t occasionally become a recording. Usually, however, works have to undergo a great deal of translating, revising, and adapting before they really come alive in a second medium. In Anderson’s case I sensed a bit of opportunism, an attempt to have it both ways, and I sense a bit of cynicism in my response. I just can’t stop suspecting that maybe the exhibit was a covert publicity stunt, an attempt to con us into noticing some music that we probably wouldn’t have paid much attention to in a more conventional presentation. And I can’t help feeling uncomfortable about having noticed.''{br}{br}— {small}(Tom Johnson, [Laurie Anderson at the Holly Solomon Gallery\|http://www.editions75.com/Books/TheVoiceOfNewMusic.PDF], in The Village Voice, Feb. 28, 1977) — ^[[Read the article\|http://tvonm.editions75.com/articles/1977/laurie-anderson-at-the-holly-solomon-gallery.html]^]{/small}\| {br}{br} {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/zORib7iLoLs" frameborder="0" allowfullscreen></iframe> {/html} ---- {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ---- {small}{cap}'''One of the things about the music in the work is first of all there is no classical bass line at all. The ground of this music is generally to establish a very monotonous beat, it’s a metronomic situation rather than a musical one ... almost all of these things have a pulse that’s very, very even and this then frees you to use real talking styles over that rather than being locked into a verse structure. So you can work outside of meter and use language the way it is used in an everyday sense, with all the stumblings and repetition and pauses and that kind of improvising with words.'''{br} — (Laurie Anderson, “Interview with Bob George”, 1981){/cap}{/small}---- \| {br}{br} {br}{br}
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