Avant Garde Composer Creates New Piece, Called Making Popcorn

An American avant garde composer, who takes his inspiration from the most upstart composers of recent times, had a piece performed last night at Carnegie Hall, titled “Making Popcorn.”

The Boston Pops Orchestra, which commissioned the piece, left the stage to make way for the performance.

Stagehands then wheeled out a popcorn-making machine and prepared it for the performance by filling it with dry corn, butter, and salt.

When the machine was “tuned,” the composer entered to conduct his own work. Taking the podium, he raised his baton and the machine was switched on. When the first kernel popped, he gave a firm downbeat and then continued to conduct as the kernels popped away. The piece concluded when all the popcorn had contributed its sound.

In an interview prior to the concert, the composer told us, “It’s a new piece for percussion. As you know, there have been more additions to the percussion of the orchestra than to any other one. Take, for instance, the brake drum and the ratchet, which is really just a noisemaker. My hope is that the success of my new piece will make the popcorn machine a standard ingredient of the symphony orchestra.”

“Would you consider it to be a tuned or an untuned percussion instrument,” we asked, indulging the wayward simpleton.

“I’m not sure yet,” he told us. “While the individual pops do have different pitches, they’re impossible to control.”

After savoring the performance, this observer began to long for the once-scandalous composition by John Cage, called 4'33", in which, as you probably know, a pianist enters, sits down at the piano for four minutes and thirty-three seconds,, and does absolutely nothing. Then he gets up and exits.

Who would have though a concert would come when one reconsidered Cage's work an instance of generous reticence?

Audit Report on Katrina Debit Cards; Some Recipients Swam In Champagne

A federal audit on the spending proclivities of people who were issued debit cards by FEMA during the Katrina disaster indicates that some of them were swimming in champagne – and good stuff, too.

Among the survival rations that were purchased, we find a $200 bottle of champagne, used as a life-saving device at the hurricane shelter known as Hooters. The establishment, upon hearing of the purchase, has nobly agreed to refund the amount to FEMA.

Other items that emergency cards were used to purchase are the following:

A flotation device of questionable effect, called diamond jewelry.

An escape route from the rising waters to a vacation in the Dominican Republic.

Salvation from a divorce lawyer by paying off a $1,000 legal bill.

Drying out at a strip club, where the recuperative process required $600.

Recuperation with $400 of “adult erotica products.”

The auditors concluded that such purchases were "not necessary to satisfy legitimate disaster needs."

Greg Kutz, a GAO forensic auditor, said one "fraudster" way up in West Virginia received a rental assistance check by using the address of a cemetery in New Orleans.

Another application, employing a vacant lot as an address, found favor in FEMA for a payment of $2,358 in rental assistance.

The relief organization also paid $8,000 and then $5,000 more, in a double-dip into rental assistance, to help a long-suffering recipient survive at a resort hotel in Honolulu.

The GAO also found that FEMA lost track of 750 debit cards, worth a total of $1.5 million.

As a result of the debit-card debacle, FEMA itself has been scheduled to receive federal disaster relief.