A Promotion And An Introvert’s Dream

I was recently promoted at work and given the largest desk on the floor which is affectionately referred to as “The Fortress of Solitude” by my team. It’s off by itself with four enclosed walls making it an incredibly quiet and private space which is a dream for an introvert like myself. My supervisor was confident placing me there because he knew I could work independently but would also continue to supervise and interact with new members of the team to assist them as needed.

I wasted no time in making the space my own – a home away from home. I ordered a few antique art pieces, a Persian style rug, I printed custom posters and had them framed, ordered limited edition lithographs, and had a second bronze bust of Beethoven cast to match the one I use in my home office for use as headphone stands in each space.

To ensure that each of the pieces would function well in the space, I took a moment between tasks at work to sketch out a rough template of the work area’s measurements and where I planned to place/hang each artifact. Here’s the (very) rough layout.

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It took a few months for all of the art works to be created, printed, or to ship from their nations of origin, but it’s all come together. The final step was to replace the boring wheeled plastic desk chair with something more my style. Thankfully I scored a vintage red armchair for just $7 at a local garage sale.

Here are a few shots of the results.

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The last item has just arrived and is now handsomely framed on my office wall. This is the limited edition bonus A2 lithograph from Brian Eno’s new Extended Edition of Apollo: Atmospheres and Soundtracks, exclusively shipped to the first 250 persons worldwide to submit their orders upon the announcement of its release last May.

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The print showcases the lunar surface depicted on the original album cover from 1983. The piece is a perfect complement to the official Hearts of Space nebula poster I ordered from the ambient radio program that has been wishing space fans safe journeys for nearly forty years.

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The Beethoven bust turned out fantastic and really adds a refined touch to the space –

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My dual desktop wallpaper is a photo of the century-old chalkware “Nipper” statue and 1911 Monarch gramophone proudly displayed in my dining room in celebration of “His Master’s Voice,” the legacy of RCA, and the history of recorded music, and a small cast iron figure of Nipper sits humbly between the two monitors.

Here’s the actual statue in my home –

Chalkware Century Old Nipper and 1911 Monarch Replica Gramophone 02-12-19 - Close Up Pulled Back a Bit

and the cast iron figure –

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Also on display is my recently-acquired “His Master’s Voice” antique art mirror –

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a portrait of James Joyce, mantel clock, and I found a vintage lamp and shade to complement my burgundy-and-brass theme –

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a collage I assembled of influential figures in the history of experimental music titled, “The Rest Is Noise” –

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DJ Food (Strictly Kev)’s poster of all the releases from the late Pete Namlook’s ambient FAX +49-69/450464 record label –

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an engraved tea chest –

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and a limited edition t-shirt graphic I framed of post-rock legend Godspeed You! Black Emperor’s Faulty Schematics of a Ruined Machine from their majestic F# A# ∞ LP –

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There is also a fun antique style console radio clock –

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and I produced a high-res scan of Brian Eno’s sheet music for his seminal Music for Airports LP and formatted the layout to frame beautifully in a 10×13 frame above my desk.

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And on the far wall behind my desk I’ve framed the Apollo print and a classy 24” x 36” portrait of Miles Davis taken in 1948 in NYC from the Herman Leonard Collection.

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The Persian style area rug finishes off the space nicely, and makes it feel extra cozy.

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It’s a serene work space and really makes me feel at home.

Music in Snaketime

Moondog - Moondog 1969

“Machines were mice and men were lions once upon a time. But now that it’s the opposite it’s twice upon a time.”

Moondog is one of the most pivotal and iconic figures of the classical avant-garde. The man certainly commanded attention – a blind, long-bearded fellow often adorned with a cloak and Viking-style horned helmet living on the streets of New York, he quickly earned the moniker, The Viking of 6th Avenue. But his eccentricity was far from superficial, and Moondog (1969) serves an as exquisite specimen of his unique compositional style and his expertly-seamless fusion of classical and jazz musics. And how many individuals can claim to have ascended from street musicianship to conducting the Brooklyn Philharmonic in their lifetimes?

In the early ‘40s when Moondog moved to New York City, he met Leonard Bernstein, Charlie Parker, and Benny Goodman, the influence of which is certainly evident throughout his catalog, but particularly so on Moondog (1969). The upbeat tempos and often humorous compositional style of this LP are likely the result of these encounters.

The album’s opening selections, “Theme” and “Stamping Ground”, (aka “that song from Lebowski”), are instantly indicative of the sort of ride you’re in for with this record. The tracks are epic and theatrical, with a lush orchestral quality. But simultaneously, there is a humbling intimacy and a flare of smart minimalism at play all throughout the album, adding an understated intellectualism to the whimsical interplay of traditional and invented instrumentation. Tracks like “Symphonique #3 (Ode to Venus)” and the brief vocal interludes sprinkled throughout work brilliantly to counterpoint the captivating rhythmic energy of selections like “Symphonique #6 (Good for Goodie)” and “Lament I (Bird’s Lament).”

There’s a curious and mysterious mannerism to the music on this record, and its inspiration reveals the nature of its oddity. In an interview with Robert Scotto, who went on to publish his biography, Moondog described his music as being directly inspired from street sounds, characterized by what he called “snaketime”, described as “a slithery rhythm, in times that are not ordinary,” and saying, “I’m not gonna die in 4/4 time”. It is this snaketime that gives Moondog’s compositions their enchanting peculiarity. There’s an off-beat, quirky eccentricity and playfulness to every one of the songs here, and together they form a cohesive and rewarding listening experience unlike any other.

10/10