Reich eventually used the voice of Daniel Hamm, one of the boys involved in the riots but not responsible for the murder; he was nineteen at the time of the recording. At the beginning of the piece, he says, "I had to, like, open the bruise up, and let some of the bruise blood come out to show them" (alluding to how Hamm had punctured a bruise on his own body to convince police that he had been beaten while in jail). The police had not previously dealt with Hamm's injuries since he did not appear seriously wounded and they had beaten him themselves. This marks the first time that a member of the Five-Percent Nation appeared on a published recording.
“…and let some of the bruise blood come out to show them”
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The full statement is repeated once. Reich re-recorded the fragment "come out to show them" on two channels, which initially play in unison. They quickly slip out of sync to produce a phase shifting effect, characteristic of Reich's early works. Gradually, the discrepancy widens and becomes a reverberation and, later, almost a canon. The two voices then split into four, looped continuously, then eight, until the actual words are unintelligible. The listener is left with only the rhythmic and tonal patterns of the spoken words. Reich says in the liner notes of his album Early Works of using recorded speech as source material that "by not altering its pitch or timbre, one keeps the original emotional power that speech has while intensifying its melody and meaning through repetition and rhythm." The piece is a prime example of process music.
Reich began using words as a basis for music back in the 1960s, experimenting with tape recordings and manipulating their speed, as in his 1965 piece It's Gonna Rain and 1966's Come Out. Come Out was inspired by the case of the Harlem Six, young African-American men who were arrested after a riot, and accused of murder. Daniel Hamm was one of them, and his case was later overturned. At the beginning of the piece, Hamm describes being beaten by police and trying to prove that he had been brutalized: "I had to, like, open the bruise up," Hamm said, "and let some of the bruise blood come out to show them."
In 2004, Madlib and MF Doom's Madvillainy album excited and confounded hip-hop heads in equal measure: it skittered with a loping boom-bap beat, yet flaunted tradition with lyrical non sequiturs, short track lengths, high-pitched vocals and bizarre, chopped samples. One of those samples introduces "America's Most Blunted" -- a monotone voice saying "I had to, like, open the bruise up, and let some of the bruise blood come out to show them," and then oddly repeating the phrase "come out to show them" several times before the beat kicks in. Fans of the massively popular album might be surprised that the outré intro isn't a Madlib idea -- it's Reich's influence yet again, lifted directly from his 1966 tape composition "Come Out." In this interview between Madlib and the Orb's Thomas Fehlmann, in fact, the two bond over having to get permission to use Steve Reich samples. The guy knows his own worth.
Come Out (1966): in 1964 a black teenager named daniel hamm was arrested in the process of deescalating a police confrontation and taken to harlem\u2019s 32nd precinct where he and his friend wallace baker were beaten. ten days later hamm, baker, and four others were again arrested and falsely accused of the murder of one of their neighbors. in the early days of the trial of the so-called \u201Charlem six\u201D the civil rights activist truman nelson put on a benefit show to pay for legal fees. he approached reich with tapes of an interview with hamm after his initial abuse at the hands of the police and asked him to edit them into an audio documentary. reich agreed as long as he could also create a tape piece from the recordings and proceeded to follow the same plan as he did in composing It\u2019s Gonna Rain\u2014he found a phrase that combined the right melodic structure and meaning, doubled it and looped it. at the beginning of the piece hamm describes making himself bleed so that the police would have to take him to the hospital: \u201Ci had to, like, open the bruise up and let some of the bruise blood come out to show them.\u201D the phrase \u201Ccome out to show them\u201D then repeats and morphs until hamm\u2019s voice turns into a disembodied angry lost buzz. a black boy exacerbating injury caused by the police in order to get desperately needed help is nothing new it turns out. hamm and the rest of the harlem six would go on to serve nine years in prison until a retrial ended in a plea deal that led to their freedom. \u201Ccome out to show them\u201D has since reverberated as a rallying cry for civil rights activists and black lives matter protesters. pitchfork tells this story quite well on the occasion of the piece\u2019s fiftieth anniversary in 2016.
Pendulum Music (1968): me and i\u2019m sure a lot of other folks got into steve reich via sonic youth\u2019s recording of Pendulum Music in their syr series #4. you can watch it being performed in the link over yonder and read how it works in reich\u2019s own words below but basically you and a few friends hang some microphones over some speakers and let them swing like pendulums. the resulting feedback creates a shifting rhythmic pattern. it aligns with reich\u2019s fascination with \u201Cprocess music\u201D as in the tape loops because you just let the microphones go and then as he says \u201Csit down to watch and listen to the process along with the audience.\u201D
so you\u2019ve got the word \u201Cdifficult\u201D from a difficult poem right in the middle of a difficult piece. reich did this on purpose as he says \u201CThe very center of the piece is a cluster of canons on the word difficult. It\u2019s the most difficult part of the piece\u2026 So for me that\u2019s the very center of the work. There\u2019s something self-referential about the repeating\u2014it refers to the music itself but also to the persistence of the problems\u201D (120). the problems of poetry and the problems of music and also the problems of living in a world where nuclear bombs are deployed and we are powerless to prevent them from being deployed, i suspect.
The Cave (1993): the same technique of matching the prosody of interviewees\u2019 voices with orchestral instrumentation is used this time in service to reich\u2019s interest in judaism and the other abrahamic religions. \u201Cthe cave\u201D of the title refers to the cave of the partriarchs in hebron, palestine where abraham is buried. the interviews were with jews, christians, and muslims who were asked questions like \u201Cwho is abraham?\u201D \u201Cwho is sarah?\u201D and etc. the unspoken background to this piece is of course the conflict between israel and palestine; hebron is a crucial site in the incursion of the former into territory owned by the latter. thus this piece continues to be relevant as an index of the city\u2019s importance to both judaism and islam. as one participant says, \u201Cthis place is holy for me. you can\u2019t make a war against my feeling. it\u2019s impossible to get in my heart.\u201D by the way the americans interviewed for this piece uuhhhh don\u2019t come across so good, as some of them confuse abraham with abraham lincoln or simply don\u2019t know who abraham is or have never read the old testament which like, fine, but at least pretend for the greatest living composer.
Come out to show themLike, open the bruise up and let some of the bruise blood come out to show themCome out to show them, come out to show them, come out to show them *storm howls*Come out to show them, come out to show them, come out to show them... *echoes**Guitar sound, coughing fit* music (bad weed)Listening to music while stoned is a whole new world (to' up man)Most cannabis consumers report it second only to sexAnd grass will change your musical habits, for the better
Quas, when he really hit star modeNever will he boost loose phillies with the barcodeOr take a whole carload on a wasted tripOr slit white owl laced tip from tip with yipSome rather baggies others like their cracks in vialsCatch a tag, roll a bag of schwag in a black'n'mildHe twist optimo, just the raw leaf partThe list top go: Bust before beef startAt the stop'n'go mart, actin like a spirit host done it"America's most blunted!" yeah, yoDoom nominated for the best rolled l'sAnd they wondered how he dealt with stress so wellWild guess? You could say he stay sedatedSome say buddha'd, some say fadedSomeday pray that he will grow a farm barn fullRecent research show it's not so darn harmful (true)Sometimes you might need to detoxIt can help you with your rhyme flow and your beatboxOff spite to your surpriseTurn a newport light to a joint right before your eyesTear a page out the good book, hear it how you want it"America's most blunted!"
emerge[s] from an attempt to pay scrupulous attention to some single quite discrete object, experience or phenomenon and, instead of allowing the functional directives of divided intellectual labour to govern the presentation of that object, continually to exhibit the connexions and fissures between such languages from the demands made upon them by the complexity of the object itself.27
La pièce est ainsi basée sur la phrase I had to, like, open the bruise up and let some of the bruise blood come out to show them[5],[4] . Cette phrase prononcée par Daniel Hamm, un des garçons impliqués dans les violences mais innocent du meurtre dont il était accusé fait référence au fait qu'il ait dû faire saigner ses bleus pour convaincre de l'importance de ses blessures[1].
Sur la base de cette phrase, réenregistrée pour le fragment come out to show them , Steve Reich initie sur deux canaux, originellement à l'unisson, le processus de répétition avec phasage/déphasage progressif pendant environ 13 minutes. Cette technique fait apparaître des effets de réverbération et de canon. Les deux voix sont divisées en quatre puis en huit pour finalement produire des sons seuls, vibrations, et rythmes, à partir de mots devenus totalement inaudibles vers la neuvième minute et finir pratiquement en bruit blanc. 2ff7e9595c
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