David Hahn: Giraffes!
“Giraffes! was created while I worked as an audio editor at a background music company using only resources I had available to me at work: CoolEdit Pro and the web.
1. â€ťBlaak Acydâ€ť (2:48) Includes recordings of my immediate supervisor saying, among other things, “Make love to me” as he repeated the lyrics of songs which were being evaluated as to whether they were appropriate for use as background music for businesses.
2. â€ťCorporate Coitusâ€ť (3:28) …a brilliant variation on Cageian notions â€“ Marjorie Perloff. When the company CEO was interviewed by a business journalist, I used the audio portion of the interview as source material. I extracted the extra-verbal sounds (called disfluencies)â€” the â€śahsâ€ť and â€śumsâ€ť and intakes of breath â€” for use in the piece. I heard it as an imaginary sex act slowly gathering intensity to a climax followed by a gradual detumescence. “Corporate Coitus” premiered at the Electric Rainbow Coalition Festival of Electronic Music, Dartmouth College, August 2003. [See my article “Corporate Coitus: Disfluencies as Compositional Building Blocks” in Leonardo Music Journal v. 15, 2006].
3. â€ťDon’t Fuck Giraffes!â€ť (3:37) This piece uses samples from my electric guitar piece Chernobyl, as well as from other sources including the voices of Apollo 14 astronauts on the moon (â€śYou know what I feel like, Al? – What? – You know those pictures of giraffes runninâ€™ in slow motionâ€¦?â€ť) and Miles Davis. Also used was Bell Labâ€™s synthetic speech software and Hammerhead, a PC-based drum machine.
4. â€ťBe So Sweetâ€ť (4:23) Beginning with a subversively edited recording of George Bush the Elder (â€śI had a joint tonight and it is kicking in now!â€ť), the source sound for Be So Sweet came from a five-second recording sent to me by a colleague who recorded himself saying “Be so sweet.”
5. â€ťApocalypse Cowâ€ť (1:27) A sound collage assembled from audio of two contradictory speeches made in 2003 by Bush and Rumsfeld in the run-up to the Iraq war. Other sounds used were: planes, bombs, cows (of course) and sex sounds to signify both the lust for war and the pornographic greed and arrogance which characterized these two figures.”