This is a piece that I made a few years ago as a submission for the Presque Rien competition in honor of Luc Ferrari, who I met, along with Brunhild Meyer-Ferrari, when I first came to France in the early 1990's. They were extremely welcoming and generous with myself and my then husband Ray.
In the Presque Rien competiton (http://lucferrari.com/en/presque-rien-prize/, composers are invited to work around a brief collection of Luc's recordings. I chose his voice, which appears rather accidentally in the recordings - because it conjures up that time of my confusion and culture shock, and of course him, who naturally I will never forget.
The piece was well-received and featured on the site for that year.
It was recorded and mixed by Raphaelle Duquesnoy. I play all the instruments - which is not to say that I know how to play any of them.
For Radiophrenia 2017, two pieces by myself and Jeff Gburek were featured (Strange Ambitions and Lives of the Poets Two), one of mine (Autobiography of a Tree), and one with myself and Raphaelle Duquesnoy, The Man on the Street.
Four pieces by Marjorie Van Halteren and Jeff Gburek were featured in 2016.
The Musiques et technologies program at ISEN Lille (Yncréa) is a section of incoming students that are offered the opportunity to explore electronic fields through their passion for music and sound. The program starts with The Nature of Sound course in the first year and points students towards various projects works through the five year engineering degree. Projects pictured are Musiques des pièces (Nicolas Chatzigianis, Masato Fukasato), inspired by Alvin Lucier's I Am Sitting in a Room, the performance of Architecture by Marjorie and Nicolas Chatzigianis with the modular synthesizer he constructed, Staircase, with Thibault Mounes, Nicolas Chatigianis and Masato Fukasato.
Nicolas Chatzigianis with his modular synthesizer.
The pictures are better on the radio
And that might explain the lifelong love affair. I began on the radio at my college station, WCBN in "the basement of the student activities building" at the University of Michigan, Ann Arbor, during the tumultuous 1969-1972 period - and subsequently worked my way through carts, reel-to-reel, cassettes, DATS, and digital delights through the subsequent decades. I've worked at an advertising agency making radio commercials (starting out, like Peggy, as a secretary), a small commercial station (selling ads in the morning, making the spots in the afternoon, hearing them on the air on the way home), to nearly two decades in NYC as an indie producer, and then a spoken word producer at WNYC New York Public Radio. After moving to France in 1992, I've had the pleasure of sampling the broadcasting Europe has to offer. I present here a few highlights.
The pictures are better on the radio
A visit to La Maison Radio France in Paris is always a happy moment for me. Especially when I can meet up with other sound artists.
Before leaving New York, I was lucky enough to meet Klaus Schoening, the dramaturg from WDR Cologne who had commissioned John Cage's Roaratorio. He commissioned my piece Roadtrip. He came to New York and curated an event at the Whitney Museum featuring John Cage (who was there, with the others) and which included my piece. This gave me a glimpse into something else I could aspire to do.
Between the Ears
Contributing to the BBC is also a wonderful opportunity. I've made two pieces for Between the Ears on Radio 3 (Jan Michelle and A Britain of the Mind), Je Ne Sais Pas What to Do for Radio 3 features, Present Progressive for Radio 4 drama, and Imagine an Onion, a documentary for radio arts features about the building of the Bibliotheque Nationale in Paris.
Pictured: Jan Michelle Kerouac, author of Baby Driver and Train Song, in Hawaii .
WNYC New York Public Radio
What a time! I had it in mind that only radio drama would do. I had the pleasure of commissioning and producing original plays for my series The Radio Stage and got to work at The Public Theatre, New Dramatists, The Acting Company; Ensemble Studio Theatre, Mabou Mines, La Mama, Circle Repertory and others, and with playwrights including Daniel Therriault, Eric Overmyer, Wendy Wasserstein, Thomas Babe, Elizabeth Swados, and Elana Greenfield.
I also got to work as an Associate Producer on Small Things Considered and on Kid's America with the marvelous Keith Talbot. I played a doll, a parrot and a French Canadian scientist, and produced "The Mystery History Guest" and "Drawing to Classical Music" segments. Just as I left to do The Radio Stage, our new intern, Ira Glass, had just joined the show. (Sure am proud of him.) I also served as the first radio producer for WNYC's Selected Shorts at Symphony Space
My early years in New York were like the experiences of many a young lemming drawn to the city's charms...some waitressing, a little stand-up comedy, auditions for commercials, a foray into advertising and a lot of rejection. I'm not sure what life would have been like if I hadn't bumped into the radio crowd at the AIRLIE seminars. Soon I was wandering the streets with a Sony TC5 and mic, and making programs for WBAI with New York IPS. (One of our efforts was featured on Tellus #11) I was one of the original ten hopefuls that sat around a kitchen table on Murray Street and founded AIR.