- Nico Muhly

nicomuhly.comWebsite Profile

Title: Nico Muhly
Description:Nico Muhly The Web Site of Nico Muhly, Containing: News, his Biography, a Discographie, Projects, Press, & Contact information. The Latest News {RSS} If you see something, say something from Tuesday, is ranked 25408406 in the world (amongst the 40 million domains). A low-numbered rank means that this website gets lots of visitors. This site is relatively popular among users in the united states. It gets 50% of its traffic from the united states .This site is estimated to be worth $2,503. This site has a low Pagerank(0/10). It has 1 backlinks. has 43% seo score. Information

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Alexa Rank:1823591
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Purchase/Sale Value:$6,756
Daily Revenue:$18
Monthly Revenue:$555
Yearly Revenue:$$6,756
Daily Unique Visitors:1,703
Monthly Unique Visitors:51,090
Yearly Unique Visitors:621,595 WebSite Httpheader

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Nico Muhly The Web Site of Nico Muhly, Containing: News, his Biography, a Discographie, Projects, Press, & Contact information. The Latest News {RSS} If you see something, say something from Tuesday, October25th of the year2016. Beloveds. It’s been a minute since I’ve blogged about it, but now I’ve got something to blog about, so blog about it I shall. Over the last 18 months, I’ve been actively trying to be more assertive. I have a real difficulty standing up for myself personally and professionally, mainly because I’m so desperate to be loved (or similar) that I’ll basically do whatever and then be confused about why I’m doing something that I never wanted to do in the first place. Part of this also means that I’ll arbitrarily decide that over the course of a project that I can put my foot down about something only thrice, and that’s it. So sometimes I’ll get to day two of something and realize that I should have just been really upfront about my intentions from the beginning and that in reality, everybody responds positively to that. We live and we learn. I’ve been driven acutely crazy by an artist’s manager for the last 2 months and I finally stood up to his ass on the phone yesterday and while it felt great, I still felt like a little kid trying to fight an un-winnable fight. I’ve vowed to speak my mind more in times of Calmne??e and not just when it gets stressful and I blurt everything out and feel awful afterwards. Let me tell you a story. I find doing press sometimes really frustrating. You have to do it, basically, because that’s how people know to come to the show, and it’s how we keep the Conversation? about music afloat. My general philosophy has been to trust the press officers of the presenting organizations of whatever project I’m doing and just say yes to everything because it feels rude to not do that. Sometimes, around a big project or tour or show, there will be a little snow flurry of things to do — a bit of radio, a bit of phone interviews, a few things via email. Ideal world: it all gets consolidated and you knock it out like a video game, even if the radio is in a random place and the phone stuff is at weird times. Sometimes something great happens — you’ll get an interviewer who asks you a probing question you’ve never thought of before, that shines light on your work or your process or life in general in a fresh and surprising way. I was asked a few such questions by Debbie Millman this last year, I had a great interview with somebody in Ireland this year who made me rethink how I write programme notes, a few years ago somebody asked me such smart questions about Philip Glass’s Piano études that we are still friends to this day (I literally just offered him the use of my hotel bathtub in London, long story). The thread that ties all these things together is not just research but genuine curiosity. It’s not about knowing every biographical detail about the subject, or every piece of trivia about the topic at hand (although it helps). It’s about knowing that you can treat the conversation as precisely that — a fluid, elegant dialogue, even if it’s over email. Occasionally, you get an interview where you quickly realize that there is a really basic Message the writer is trying to get across — and indeed, oftentimes it’s just “you, the reader, should come to this show.” I’m fine with that — this is when Paper and Orchestra are in an (1) friendly cahoot and the paper asks the composer to say three things about the piece, two things about how nice it is to be in Orchestraville, one wacky detail, and is there anything else you’d like to add thank you so much see you on Friday. Other times, though, you get something like what I’m fixing to show you here. This is the Prove My Thesis interview. This is when the writer has in mind a Way that the world works (the implication being in this worldview that there is only one possible way) and that the interview subject is going to Confirm this Genius Idea in neat quotes. This is the work of That Guy from Class — remember him? Where it’s not like he didn’t read the book, because his eyes certainly passed over the pages, but it’s more like he took everything wrong out of the text, and then wants to get weird about “isn’t there no wrong answer in literature?” It reminds me of when you buy a cat a present and all the cat wants is the box. I found myself in the presence of just such an interview the other day. I should preface this by saying that of course — of course! — this was one of those “I need the answers right away” interview requests, and the press agent is nice and a friend of a friend and I was like, okay great, I can hook you up, send the questions. So of course — of course! — Dude? sends the questions like, a day later, because it’s Dude?, and I should have known right away we were in for a treat. I did the “Standing Up For Myself Email” to the press agent, which reads: For future reference, if somebody’s like “i need them ASAP” and then doesn’t actually send them ASAP, I become inclined not to do them ASAP, as it were. I set aside time to deal with all this kind of stuff this morning, and am now about to go into a tech rehearsal for 14 hours, so, I don’t know what his deadline is… anyway, whatever. She responded, indicating that actually he had “ASAP’d” her for a few other artists he was trying to get in touch with for the same article and had then taken his time to compose the questions. This should have been a red flag. I then later found out that he emailed all of us basically the same set of questions with a few tailored to our own bawdee of work. Fine. Meanwhile I said I would do this damn thing so I set aside the therapeutic hour of 5:45 AM to 6:30 AM to address this, got up, addressed myself to Miss Nespresso du Val, padded out to the table and fired up Chomper here, to discover a litany of some of the dumbest Prove My Thesis questions I’ve come across in a long-ass time. I present them to you here, with my replies, in full, with no edits made save a few tiny things in brackets. Some names changed to protect the innocent. I want to also say this, and this is important: I’m sure this dude is actually a really nice guy and I wish him no ill which is why I’m not putting his name on this. H9 the sin and love the sinner. I just want to have a conversation, amongst friends, about how fucking impossible it is to talk about one’s own music (or anybody else’s music) in this kind of environment where you’re working in somebody else’s crazy intellectual ecosystem. I don’t read a lot of writing about music, so interview questions are, for me, a good weather report about the way people are talking about what’s up. For me, my first port of call with other people’s music is usually the music itself, live, or on recording and with the score if that’s a thing; I know that this is a luxury and that many listeners first hear about music in print or online, and usually as a result of the good efforts of Dude to ... Whois

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