I always wish it were easier, like having fun on a slip-slide. Then again, it would not have the resonance and richness of deep satisfaction if it were easier. It is the struggling in constant revolution, and seeing the small gains in authentic expression, that makes this art-making worthwhile and rewarding. Yesterday produced a small move toward a better resolution in the painting "Revolution 10", and an excellent drawing. The skill in the drawing is great, but the visual meaning of the drawing does not strike me as excellent as the skill. I am not sure.
Some of you have asked, "Why Revolution 10?" The reason for the use of 10 is answered by reference to an explanation of The Beatles' "Revolution 9" (read it below the drawing posted today).
"Revolution 9" is a recorded composition that appeared on The Beatles' 1968 self-titled LP release (popularly known as "The White Album"). The sound collage, credited to Lennon–McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko Ono. Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concrète works of composers such as Edgard Varese and Karlheinz Stockhausen.
The recording began as an extended ending to the album version of "Revolution". Lennon then combined the unused coda with numerous overdubbed vocals, speech, sound effects, and short tape loops of speech and musical performances, some of which were reversed. These were further manipulated with echo, distortion, stereo panning, and fading. The loop of "number nine" featured in the recording fueled rumors about Paul McCartney's death after it was reported that it sounded like "turn me on, dead man" when played backwards.
McCartney argued against including the track on The Beatles. At over eight minutes, it is the longest track that the Beatles officially released.
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