Tag Archives: appropriation

The word “Pink” is printed at the bottom left of p.32, followed (on p.33) by a 49,288 word excerpt from “The Pink Bunny”; on p.473 “Bunny” is printed at the bottom of the page (at left) followed by a sentence on p.474

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The title for the novel explains what is seen on/between p.32 through 474 and focuses on an excerpt from a novel titled “The Pink Bunny” about an abstract painter. The words “Pink” and “Bunny” are also the frame that serves to enclose the excerpt, created out of the reality of the title itself. The excerpt is followed by many blank pages, but this emptiness still exists within the frame of “Pink” and “Bunny.” The frame “Pink” and “Bunny” does not enclose the sentence on page 474. This sentence’s place outside the title-frame is a mystery, but related to the excerpt.

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910)…

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”

They place his given-name (“Todd”) on pages 25 through 58. Then they place his middle names (“Earl”) on p.322 and (“Winkels”) on pages 356 through 411. Then they place his Catholic confirmation name (“Augustine”) on p.455…


The word ‘autobiography’ was first used deprecatingly by William Taylor in 1797 in the English periodical the Monthly Review, when he suggested the word as a hybrid but condemned it as ‘pedantic’; but its next recorded use was in its present sense by Robert Southey in 1809. The form of autobiography however goes back to antiquity. Biographers generally rely on a wide variety of documents and viewpoints; an autobiography, however, may be based entirely on the writer’s memory. 
Autobiographical works are by nature subjective. The inability — or unwillingness — of the author to accurately recall memories has in certain cases resulted in misleading or incorrect information. Some sociologists and psychologists have noted that autobiography offers the author the ability to recreate history.
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The sentence printed at the top of p.14 is Duplicated in the middle of p.168 and bottom of p.544 within the Context of a 234,348 word text…(a novel)

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Deixis: from the Greek word for “pointing” (as in “index”), refers to the process of pointing with words. Deixis studies the contextual referents for demonstratives (”this”,”that”), pronouns (“I”, “you”, “it” etc.), verb tenses, context-referential adverbs of time and place (“then”,”here”)and a variety of other grammatical features tied directly to the circumstances of utterance.

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ISBN: 9781329436855
Publisher: Liver Pizza Press
Published: October 16, 2015
Language: English
Pages: 612
Binding: Perfect-bound, Paperback
Interior: Ink – Black & white
Weight: 2.19 lbs.
Dimensions (inches): 6 wide x 9 tall

False Barnyard: a novel (2012)

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“It’s the part that ‘ties the room together’ in the whole ‘Barnyard Suite’ thing. The dude just wanted his False Barnyard back.”

The Beach Boys “Smile Sessions” box set caused much internet discussion and debate among fans of the legendary unfinished album “SMiLE” from 1966/67. The pages and pages of scholarly debate contrasted with mindless banter regarding prices, shipping and content was a phenomenon to behold, and a fascinating look into pure obsession. No attempt was made to use the most interesting bits from the discussions. The author simply chose a discussion – warts and all – encompassing boring mindless banter mixed with insightful comments on “SMiLE” to reveal the “story” on the reception of a long awaited box set. The results are a surreal journey into a strange mythology.

Comments found online about the novel:

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From the Hoffman Board:

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From the Smiley Smile forum:

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From the Record Room:

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Bridge to Indians (a novel)

They publish books of Conceptual Literature, whose titles describe the content in detail.

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To create “Bridge To Indians” Todd Van Buskirk navigated to the now defunct “Smile Shop” website and found a section called “Notable Quotes” collected from certain key players involved in the drama of “SMiLE.” The author took these quotes, word for word, and expanded and mixed the text with a Markov Text Synthesizer to construct a dreamy narrative culled from the actual dramatis personae involved in the mystery that is “SMiLE.”.

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Mouthpiece (an entire novel appropriated from Saxophone forums)

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A 600+ page appropriated extravaganza about the saxophone mouthpiece, taken from saxophone forums on the internet, capturing esoteric details and concerns about brands in the life of a saxophone player in this day and age.

Excerpt:

Rico Royal Metalite Fans!

Just wondering if anyone else has a problem with the Metalites cutting into the cork on the neck? It’s an M Tenor. Is it an issue these have or just a sign that i need to cork? My old piece never did this. PMeyedoc

Rico Royal Metalite Fans!

my alto piece did this. That would be another modifi- cation I’d want in addition to removing that “ledge” ta- ble and rails!

Rico Royal Metalite Fans!

have a friend who could use a metalite for bari do you have any recommendations regarding top opening he currently plays a selmer C* I believe.

Rico Royal Metalite Fans!

Just received two new Metalites Alto M and Tenor M. I ordered them wrong (I wanted them the other way round M for alto M for tenor but both are safe within my ability to control them well). Interestingly they’ quite different looking from the baritone ones I own (two Ms one older one quite new (one and a half years old)) Their surface is polished like the one on the Graf- tonites and the baffle is shaped differently from the baritone pieces. On those the baffle has a sharp edge on the new pieces this edge is replaced a considerably tilted area (maybe degrees?) so the baffle has a sort of extra step. Has this always been the case on tenor and alto pieces? I like the sound of the baritone pieces bet- ter compared to the new pieces they both sound fuller and are easier to blow and control; I’d say that the ba- ritone pieces are better allaround pieces than the alto and tenor pieces. The alto M is still a fun piece to play since it offers abundant amounts of volume. The tenor piece is very bright (I might have to switch reeds to counter that). Still both pieces play well when com- pared to others especially considering their price. Even if the tenor piece is the least convincing it still beat a Berg / (similar opening…) I had used for some time now on my YTS. On a slightly different note the piece that surprised me most of the batch I ordered wasn’t a Metalite this time but a measly Graftonite A for alto!

This one plays deceptively similar to my ARB Great Neck * (not quite as warm and full but very even). It also outplays the Yamaha C (a mouthpiece that costs just about the same) several orders of magnitude… M. @Koen Have him try an M. It’s more open the C* but it’s an easy blow. I think M is a better choices than M since it’s already quite flexible (not quite as much as a M or M though) without requiring a monster player’s embouchure. Of course if the C* feels like hard work M is the only way to go (and may or may not work out…). M.

Rico Royal Metalite Fans!

Have him try an M. It’s more open the C* but it’s an easy blow. I think M is a better choices than M since it’s already quite flexible (not quite as much as a M or M though) without requiring a monster player’s em- bouchure. Of course if the C* feels like hard work M is the only way to go (and may or may not work out…). M. thank you He plays quite often (not as much I’d like to see) and I think the M would be good. But I’ll ask him.

Rico Royal Metalite Fans!

Definitely just got an M and a clarinet M in the mail today as an xmas gift. The M is quite the leap (about .”) in opening for me but i really want this to be a hob- by piece if I really like it maybe more then. The pieces were bundled new on ebay for like $. I really needed/wanted the clarinet piece needing something for jazz clarinet work though I have heard they can be quite hit and miss. But hey pieces for $?!