Up the Irish!   (2015Mar07)

Friday, March 06, 2015                                    12:08 PM

I’m drinking ‘Yukon Gold’ this morning—Tea Trader’s most expensive loose-leaf, all the way from Ireland (though I suspect the tea-leaves weren’t grown there). It’s black as coffee—and nearly as strong—and has none of the smoothness of your Earl Grey (which was already my favorite, long before Picard was even cast, so don’t even) but instead has a bite as sharp as an Irishwoman’s tongue.

St Paddys’ is a-comin’—which always makes me harken back to my halcyon days as head-of-systems for my dad’s old agency. In the 1980s, he would take the entire staff to the Blazer for lunch every St. Patrick ’s Day. (If you haven’t had the pleasure of eating at the old Blazer in Somers (just north of Katonah) you’ve missed out on the legendary, ‘best burgers’ in Westchester.)

My co-workers and I loved this special day—no other companies got St. Patrick’s Day off, so we felt privileged—although it wasn’t exactly a day off. We worked until lunchtime and left en masse. Lunch at the Blazer was actually mandatory—if you didn’t want to go, you could stay at the Croton Falls office and work all afternoon. Everyone went, of course. The saddest part of it was picking the person who had to stay and cover the phones—you’d think they were being left behind on the family trip to Disneyworld. But there was the consolation of telling everyone who called that day that ‘Mal Dunn Associates was closed on St. Patrick’s Day…”

In the old days, there was still smoking in bars—we smoked, we danced, we ate burgers, we ordered Kamikazes by the pitcher—this was an office party with boots on, I tell you—and it usually went on and on—at least until Mal left and the drinks were no longer free. All you needed to do was wear at least one article of clothing that was any shade of green at all. My dad had a lovely, high Irish tenor, and when he sang “When Irish Eyes Are Smiling”, everyone stopped to listen. It’s still my favorite song. I’m always somewhat disappointed nowadays, when St. Paddy’s rolls around, because nothing happens anymore—it’s just a day. So much of life is like that—oh, pooh! And oh, bother!

This has been quite a week for me, piano-wise. I played so much Brahms and sixties-hits piano covers and improvisations, that I had to re-charge my camera half-way through the two days’ worth of playing. It was so much material that I’ve been spending the last three days rendering it all into post-able YouTube videos. I’m really quite tuckered out by the whole thing—and three days is a long time to wonder if my music is worth the trouble of posting, especially the Brahms.

But here’s the thing. I’m sight-reading through the Brahms (and everything else I play) not ‘performing’ it the way a pro pianist would—so, why bother posting it? Just for my friends and relations who wouldn’t listen to Brahms anyway, except that I’m in the video. Plus—and this is just for my own satisfaction—sight-reading Brahms is no picnic. You try it—you’ll see. In truth, it’s all about me—I’m not really posting this stuff for anyone else.

Neither am I truly sight-reading. Sight-reading implies that I’ve never seen the score before—but I’ve been sight-reading Brahms for decades. It would be more proper to call it score-reading, but this is one of those cases where I sacrifice precision of terminology for ease of comprehension.

Gosh, this took forever. It’s 3am Saturday now, and I’m still waiting for the last video to upload to YouTube. Six pieces by Brahms, four Improvs, and two groups of 60s covers (using a total of ten recordings of songs)—there was a lot of material to work through. I’m going to be scared to sit at the piano from now on—what a schlep!

And my sleep has been skewed—I’ve been reading lately and that always makes me overlook the passing of the night. I’ve just finished “Yesterday’s Kin” by Nancy Kress, “The Doubt Factory” by Paolo Bacigalupi, and I’m midway through “Henry of Navarre” and just started on “Alan Turing: The Enigma” (which is a whopper—776 pages). All good stuff, if you’re looking.

Here they are, finally:

 

 

 

 

 

 

 

 

 

 

 

Two Videos (2015Mar03)

 

 

Hat Trick   (2015Mar01)

Sunday, March 01, 2015                                  3:50 PM

I almost had it on the twenty-seventh, last week—blogging and/or posting an original poem, an original drawing, and an original piano music video—but I had trouble trying to scan my drawing with the three-way printer/scan/faxer, which led to me destroying the internet connection to the router, which led to me crawling back into bed and watching TV for hours. By the time I’d created an illustrated-poem graphic, I just didn’t have the juice to sit down at the piano. So, just a poem and a drawing—though I shouldn’t complain—they were both well-received.

Today, I made sure I sat down for a quick keyboard recital, before I started working on all the technical stuff. Typing up a poem; sketching out a picture; tickling the ivories a bit—not that big a deal. But then try scanning, photo-shopping, text formatting, file-transferring, audio-editing, video-editing, and uploading it all—there’s where the hard work comes in.

Anyway, to content—to call today’s offering a mixed-bag is an understatement. Firstly—I was lying in bed last night and looked over at the t-shirt that I’d used to block the power-LED on the TV (otherwise the bright blue light is right in my eyes as I try to go to sleep). It looked just like the head of a cow or a moose—some sort of beast’s head. So I grabbed my trusty sketch-pad and drew what I saw. As you can see from the side-by-side comparison of a photo of the t-shirt and my drawing, the t-shirt still looks more like an animal’s head than my drawing does. (Hey, I never said I was Rembrandt).

20150301XD-OrigDrawing_Bovine_AND_TShirt

Secondly, I was hand-rolling my cigarettes this morning when the phrase ‘there’s nothing to it but to do it’ came into my head and started re-arranging itself. Pretty soon I had a whole stanza in my head and I had to rush through my tobacco-rolling to get to the keyboard—by which time my head had come up with a second stanza but was in danger of dumping the whole thing out of short-term memory. When I think of a poem, I literally have to run to the keyboard to type it in before it fades away—that’s how leaky my short-term memory is. Most of my essays, half-written in my head before I get to the computer, and my better improvs, singing in my head while I rush to set up the camera by the piano, are all the same story.

Interesting ideas come and go out of memory like flitting shadows—the trick is to get to a working medium in time for the good ones, while not exhausting myself by trying to capture every stray idea that blows through town. As you may have noticed, I’m not one of those planner-type artists—I don’t write voluminous novels, room-filling frescoes, or complete musical compositions. I just try to chase after the scraps of ideas that stumble into my broken brain, and catch them with my shaky fingers. The large-scale mind-palace that allows long-term project-planning (and once made me a sick programmer) is now just a memory. And, like all my memories, a vague one.

Back to content—so the poem happened to end with “I think I hit a fairy with my car.” Dramatic? Yes, but unsatisfying. So I wrote some more verse in front of the first-draft, some more verse after, and ended up with a politically themed poem, which was not my intention. Still, when writing, especially poetry, sometimes you tell it, sometimes it tells you. It’s hard enough to write a poem without trying to make it walk a straight line, too.

20150301XD-OrigDrawing_GOPFairy(2)_wPoem

And, thirdly, I have a brief musical interlude for today—a cover of the old classic, “That’s My Desire”, in which I do my best Vic Damone impression, and a squirrelly, little improv, for your delectation, dear reader/listener/viewer. I hope at least one of these hot messes provides someone with a moment’s pleasure today.

 

 

Finally, I’m adding my recent drawings to look at, which I finally got scans of, thanks to sneaker-net (my son repaired the internet connection, but the printer still isn’t ‘sharing’ like it’s supposed to). Here they are (click on the images to see them full-sized):

20150301XD-OrigDrawing_BovineTShirt(3)

 

20150301XD-OrigDrawing_GOPFairy(2)

20150227XD-HumltyIsFatal(SCAN)

Three Covers and Two Improvs   (2015Feb28)

20150228XD-Rijk_OceanoNox_Lautrec_1895(SMALL)         20150228XD-Rijk_ZeegodOceanus_Galle_1586(SMALL)     20150228XD-Rijk_JunoThetisOceanus-Goltzius_Estius_1590(SMALL)         20150228XD-Rijk_WhalingGrndsArcticOcean_Storck_1699(SMALL)       20150228XD-Rijk_EgyptnDancerInTent_deFamarsTestas_1863(SMALL)

 

Saturday, February 28, 2015                                     5:55 PM

Not for the first time, I’m using graphics from the Rijksmuseum website in my videos. One of them, “Whaling Grounds in the Arctic Ocean”, painted by a fellow named Storck in 1699, shows men not only whaling, but prowling about on the ice floes, attacking some poor polar bears! I guess they were attracted by the smell of the blubber being rendered aboardship? Anyway, it’s a fantastic painting—it even has some walruses hanging about in the foreground.

It being rather cold and savage, I used it as a frontispiece for the video “Improv – February Finally Dies”, which was the nicest title I could think of for the last day of this horrible month. All of the pictures are cool—you can see how I’ve crowded out my credits just to enlarge the pics and give you a better look at them.

For the end-credit page of the Piano Covers video, I used a sheet-music-cover illustration done by none other than Toulouse Lautrec (for the song, “Oceano Nox”) showing a sailor leaning over the prow of his ship, contemplating the night. I knew Lautrec did posters and commercial art, but sheet-music covers surprised me. For the title card, I used the wonderfully evocative “Egyptian Dancer in Tent” by de Famars Testas (1863).

For the improv “Spring is Possible” I used two different images of the sea-god, Oceanus—one engraved by Goltzius (1590) and the other by Galle (1586). I really enjoyed these paintings, so I’m going to add them to this post, following the YouTube Videos—check’em out.

Well, I was apparently ‘feeling my oats’ today—it didn’t help the piano covers any, but it sure came out in my improvs. I hope they sound half as good as they felt to play…

 

 

 

 

 

 

 

20150228XD-Rijk_EgyptnDancerInTent_deFamarsTestas_1863(SMALL)

 

20150228XD-Rijk_WhalingGrndsArcticOcean_Storck_1699(SMALL)

 

20150228XD-Rijk_JunoThetisOceanus-Goltzius_Estius_1590(SMALL)

 

20150228XD-Rijk_ZeegodOceanus_Galle_1586(SMALL)

 

20150228XD-Rijk_OceanoNox_Lautrec_1895(SMALL)

The Wonderful Bongos of Oz   (2015Feb21)

Saturday, February 21, 2015                                     12:30 AM

The great and powerful Peter Cianflone, drummer extraordinaire, came by today (or technically yesterday) and kindly agreed to join me in some ridiculous music-making, none of which is his fault—he was just an innocent, bongo-playing bystander. I do like the piano with a little extra percussion, though, and Pete’s performance upon the mini-bongos is not to be missed.

Nothing went right today at the keyboard—I haven’t listened to it all myself yet—the improv may be passable, who knows? But we had a lot of fun and a lot of laughs, so it’s all good.

 

 

 

 

 

Happy Valentine’s Day (2015Feb14)

Saturday, February 14, 2015                                     8:04 PM

We went to the A&P earlier today and I got Bear some Ferrero-Roche while we were there—Valentine’s Day accomplished. I also played her a few love songs, which are presented here, along with three improvs. Religions are all about Love, so I thought I’d give today’s improvs religious names. I don’t practice a religion, but I love the terminology. No offense.

 

 

 

 

 

Russian Folk Songs (2015Feb09)

XperDunn plays Piano
February 9th, 2015

16 Russian Folk Songs
(Covers from the Russian Songbook)

01) All Throughout The Great Wide World I Wandered
02) Do Not Scold Me And Do Not Reproach Me
03) The Boundless Expanse Of The Sea
04) My Sweetheart
05) No Sounds From The City Are Heard
06) Do Not Awaken My Memories
07) Stenka Razin (From Beyond The Island)
08) Snow Flurries
09) The Cliff of the Volga
10) The Story of the Coachman
11) The Little Bell
12) Farewell To Happiness
13) The Slender Mountain Ash
14) Dubinushka
15) Oh, You Dear Little Night
16) Down The Volga River

 

 

 

and improv…

 

 

Almost Sixty (2015Feb04)

I turned 59 yesterday–had a lovely birthday, and played a little music:

 

 

 

Blizzard Fail   (2015Jan27)

Tuesday, January 27, 2015                                        3:37 PM

The weatherman predicted the worst Winter storm in history for last night and the majority of today. The mayor of NYC made emergency announcements at 7 PM last night. I expected to be snowed in, without power, and who knows what else might happen.

Being a coastal storm, and heading northward, it trashed Long Island, Boston, and Maine, as predicted—sorry about that, Down-Easters—but here in Somers, where the initial forecast was one-to-two feet of snow, then just one foot—I’d be surprised if the official measurement reached six inches. It looks more like four or so.

Which means I was allowed to shoot, edit, and post four videos today—I shot the whole room in hopes that the weather outside would appear frightful, but all the video shows is a white glow where the windows should be windows. Unluckily, that left me with very dark videos, which I have tried my best to brighten with my video-editing controls, but it’s still a pretty lackluster show—just a dark room with my head peaking up from behind the piano.

I took some stills for the Titles and Credits graphics, too—in the “Mendelssohn – Songs Without Words No. 25”, you see where Claire couldn’t catch the cardinal  outside our window (you can just see a bit of red). In the “Mendelssohn – Songs Without Words No. 24”, you can see a wren at the same window (it’s a very popular sill). The improvs just show pics of our yard covered in snow.

The two Mendelssohn pieces, as usual, are posted more as proof that I can sight-read/stumble my way through with minimal mistakes than as any competition for the real pianists out there—but that’s where I’m at—what else can I do? I’ll let you judge for yourself what sort of voice I’m in with today’s two improvisations….

 

 

 

 

 

Finally, here are some of today’s stills, on their own…

20150127XD-Improv-BlizzardFail (1)

 

20150127XD-Improv-BlizzardFail (2)_02

 

20150127XD-Improv-BlizzardFail (3)_02

 

20150127XD-Improv-BlizzardFail (4)

 

20150127XD-Improv-BlizzardFail (12)

 

20150127XD-Improv-BlizzardFail (14)

 

20150127XD-Improv-BlizzardFail (16)

 

20150127XD-Improv-BlizzardFail (18)

 

20150127XD-Improv-BlizzardFail (20)

Aliens In Winter (2015Jan19)

20150119XD-POEM_WinterHasARight

 

 

 

-Thus endeth the lesson.

So, now I have my video of Joni-Mitchell-song piano-covers, my poem about my winter walk, and here I am, being greedy, trying for an essay to top it all off…

Well, the odds of my getting a good essay, when I haven’t actually been driven to the keyboard by frustration and a head full of roiling thoughts—when I’ve just ‘decided’ to try and squeeze one out of myself—are lower than dirt. So I might as well choose an equally off-the-grid subject, like Ancient Aliens. Nobody takes ancient aliens seriously, so they make a perfect subject for me—although, I should admit, being taken seriously is the last thing I need. I have a hard enough time being taken for a light-headed jester.

Nevertheless, there are many ancient ruins whose construction is ‘unexplainable’. It’s hard for me to accept that word, ‘unexplainable’. ‘Very difficult’ I could manage—even ‘mysterious’ I can handle—but for something to be entirely unexplainable (in my experience) is a poor use of words. In science, there were (and are) many unanswered questions—but we don’t just throw up that word, ‘unexplainable’, and move on—we find explanations. That’s what science is—the refusal to accept ‘unexplainable’ as an answer.

Now, ‘unexplainable’ does have a temporal meaning—even in science, there are many things which are not yet explainable. And if Ancient Alien proponents wish to replace ‘unexplainable’ with ‘not yet explained’, then I’m ready to listen to the rest of what they have to say. Until then, I have to place them in the set of all people who are willing to accept ignorance as an answer, rather than a challenge—and members of that set do not intersect with the set of all people who are rigorously scientific.

And scale, in and of itself, does not constitute any great mystery, to my mind. Huge blocks of stone may seem immovable, laser-guided precision of ancient carvings may seem impossible—lots of things appear at first glance to be outside of our capabilities—or the capacity of our ancestors. But give thousands of people hundreds of years to think and experiment and work things out, and there is very little that we can pronounce to be impossible. Large objects can be floated upon waterways, rolled on wheels or cylinders, or undermined in sand. These and other techniques can also be combined in various ways to enhance their power. In short, to pronounce something to be too big to move is actually just a way of saying that our imaginations have limits—a statement with which I could never agree.

Others questions, such as the visibility of the Nazca Lines diagrams only from the air, seem to me equally judgmental about the cleverness of people. There’s a tremendous gap, to my mind, between something that is very, very hard to do—and something that is impossible to do. Nor do I give credence to the issue of why ancient monuments were built. Without context, even our more modern structures, like cathedrals, have no obvious, practical use. In the particular case of the Ancient Alien question, we see many ruins of structures that have an astronomical connection—but the stars are as important to a farmer, or a sheepherder, as they are to an alien. The circuitous seasons have, for mankind, both a life-or-death meaning for agriculture and a more mystical attraction as a source of contemplation and dreaming—the addition of aliens is superfluous to their import.

Thus, while I’m open to the idea of Ancient Aliens, I’m less than satisfied with the current archive of ‘proof’ that we see on TV. Also, I’m not too crazy about the idea that humanity is nothing more than an experiment in some galactic laboratory run by alien overlords. I’d rather believe in God, if I could.

O–and two more videos:

 

On Statesmen and Business Leaders (2015Jan15)

Thursday, January 15, 2015                             8:49 PM

Same stuff, different day: An improv, a few Beatles covers, and a cantankerous essay comprise your XperDunn blog-post for today:

 

 

 

 

On Statesmen and Business Leaders

The prior essay (“Do Your Worst”) unsettles me—I always want to take my temperature and blood pressure whenever I catch myself advocating anarchy and destruction. And I’ll cop to that—I’m a little ‘unstable’—I think is the fashionable term these days. But it’s also partially the fault of whoever’s in charge of our businesses and our government—they make it so that advocating anarchy is nothing more than a difference of degree to what we already endure. I’m not saying they suck—I’m saying they suck the big, hairy, hard one.

Neither am I talking about a mob—nor even a crowd. There are only one hundred senators and fifty state governors—and I doubt there are more than another 150 chairpersons of the kinds of bloated multi-national corporations that squat upon humanity and bring shit to everyone’s lives. So, say maybe three hundred and change, tops—that’s the number of people that keep the tens of millions of Americans from having decent, secure, dignified lives. That tiny army of power-mad mongrels does a wonderful job of keeping the rest of us in misery. Just think—in the olden days, we’d need thousands upon thousands of these assholes to do the same job on so many people.

It’s impressive, too, when you consider that they all have to spend most of their time pretending to be the kind of person you’d invite into your home without worrying about the inviolability of your house-pets. These men, and a few women, too (let’s not be sexist about this) spend the whole day babbling vacuous PC-speak about values and concerns, initiatives and committees, convincing the gullible among us that they have some concern for the average citizen—yeah, right. It has become so accepted that their job-description precludes plain speaking that we have a special term for their lies—when someone is never comfortable with honesty, we call the noises they make with their mouths ‘spin’, which is a euphemism for BS, and plenty of it.

We have to call it ‘spin’. Can you imagine news-reports, otherwise? “This afternoon, the heads of the major investment banks told a bunch of lies. Five senators who head crucial senate sub-committees told even more lies. The CEO of America’s largest petroleum producer told a total of ten real whoppers that no one in their right mind would ever believe for a second. And now, the weather…”

And what do these people do when they are not busy ensuring our perpetual misery and lying through their asses about it? They spend a lot of money. They have to—there’s little else a soul-less, hollow shell of a human being can do to pass the time. They can’t have real relationships—that would involve emotional maturity—and while these people may be alpha dogs, strong and successful and loaded, the one thing they never have time or talent for is learning to know themselves, or to truly care for another. Outside of the rough and tumble schoolyard of corporate and political in-fighting, they remain the children that all business-leaders must be to devote so much energy and determination to something so trivial as being first amongst douchebags, the top of the shit heap.

So, while these idiots may enrage us, frustrate us, drive us to the very edge of sanity—we may nonetheless be thankful that, at least, we are not one of them. For while they may ultimately (and frightfully soon) bring the entire planet to death and ruin, and kill us all—they are already dead, insofar as the ability to truly live like a human being was never in their grasp.

But if you ask any of these psychos whether they, personally, are part of the group I’m addressing, they will, without pausing for breath, start explaining furiously how they could not possibly be one of the damnable damned—and you will then hear what we like to call ‘spin’.

Songs without Words (2015Jan14)

Felix Mendelssohn wrote a collection of piano pieces entitled “Leider ohne Worte”, which is German for Songs without Words. The collection is one of my favorite playbooks. They are challenging for me, so these aren’t good examples–though I’m sure YouTube has many other performers playing it much better. Anyhow, here’s my latest playlist of my most recent recordings from the book:

(One short note: the photograph used in these videos shows the Superman® socks my daughter gave me for Christmas!)

And the obligatory piano improv:

 

Enjoy. and good night…

A Tiny Concert (2015Jan11)

Sunday, January 11, 2015                       5:00 PM

I stumbled through a short-concert-for-no-one earlier today. It includes two of Felix Mendelssohn’s “Lieder Ohne Worte” (Songs Without Words), a song from Cole Porter’s classic musical “DuBarry Was A Lady”, entitled “Come On In”, and (as always) a brief piano improvisation of my own devising. I hope everyone, or anyone, enjoys listening to it as much as I enjoyed playing.

 

 

 

 

In other news, I’ve begun a song project. At the moment I have only a rough draft of the lyrics, given below—I invite comment and constructive criticism:

Song Project:

Chopped greens, yolks in a bowl,

The wooden spoon, the shakers, the mitt,

The stove-tops, all four, full,

As the oven glows and bakes.

Boy comes into a warm steamy kitchen,

Aroma says stew’s on the stove,

The sure cutting of mom, cooking…

 

“Get yer hand out of there!”

“You wanna lose a finger?”

“What the hell’s wrong with you?!”

 

A boy who wants, just wants,

Thinks of a cookie in a bear-shaped jar.

Having been chased off, he tip-toes

Toward the pantry, stubby fingers

Reach for the china head.

Eyes wide, mouth agape, boy

Approaches the granting of his sugary wish.

 

“Get yer hand out of there!”

“Can’t you see me cooking dinner?”

“You wanna RUIN your appetite?!”

 

Boy walks away, then skips a little,

Hums a tune—a nursery rhyme,

Spins around and starts to sing,

Dancing along, closing his eyes,

He pipes angelic notes,

Transported to a fairy-land

Of song and dance and freedom…

 

“Watch where yer going!”

“What is your problem?”

“Get out of my kitchen right now!”

 

Please note that the mother’s lines are meant to be contrastingly loud and screechy, very unmusical—while the verse is meant to be all soft and trilly and peaceful. I’m not sure what the song is about yet—I’m just amused by the idea of the really strong contrast between the narrator’s lyrics and the mother’s words.

Holiday Pete-ness ! (2014Dec30)

Pete Cianflone came to jam today–again, no drums–used a garbage can.

There’s a lot of sillyness happening in these videos. The Cole Porter song, “A Little Skipper From Heaven Above”, is a crazy song about a pirate captain who announces to his crew that he’s about to have a baby, that he’s really been a girl in disguise all this time… my performance is atrocious, but watching Pete try not to laugh is worth viewing.

 

My performance on the Christmas Carols is equally horrendous, but I couldn’t resist getting some Xmas stuff with Pete down on digital–even if it is the day before New Year’s Eve.

 

The piano cover of Dylan’s “Like A Rolling Stone” will be familiar to my listeners (perhaps too familiar) but I like to bang it out now and then, just to update myself.

 

But I think the three short improvs we managed are the best of the day’s video ‘catch’. Pete tells me his brother, Richard, likes the ‘video FX’ that I often use, so excuse me if they’re a little crazier than usual–That’s for you, Richard!

 

 

 

 

Happy Holidays, everyone — and have an excellent New Year.

Christmas Coming Out My Ears (2014Dec20)

 

 

 

Your Choice (2014Dec14)

Well, I wish I’d posted this yesterday (It was Sequential Day, that is, the date was 12-13-14) But, I can only play when my aching back lets me, so today was the best I could do.

You have a choice with this post:  you can read my boring-ass essay -or- you can listen to my silly-ass music–either way, please don’t forget to ‘like’ and ‘share’ or whatever.

 

 

 

 

“Baby Steps Among The Stars” – Part Two (Chap7)

Chapter Seven

Sounds easy—just place limits on money’s influence; allow it, where necessary, to be over-ruled by ecological or ethical considerations. But how? Much is made of the ‘revolving door’ of big-business executives and government regulators—doesn’t it invite corruption to have the same people flit between the leadership of these dangerous industries and the guardianship of the peoples’ interests, rights, and well-being vis-à-vis these industries? Certainly a conflict of interests is almost guaranteed by such intermingling. But what is the alternative? It doesn’t make much more sense to have all our potential regulatory chiefs be confined to those with no knowledge of the industry they monitor. Neither does it seem fair to ask a retiring federal regulator to find a job elsewhere than the industry in which he or she is a recognized expert.

And the power of Capitalism is likewise inherently bound up with the efficiency of our commerce—we can’t declare money invalid for one use and not another. If money has any purchasing power at all, it can ‘buy’ a person—or at least, their effort or their influence—which means that money can ‘buy’ exceptions to rules. The very versatility and anonymity that makes cash so useful also makes it impossible to confine to specific uses.

Worse yet, people are as much a part of the problem of Capitalism as its mechanisms. People, as has been mentioned above, are changed by both authority and submission to it—to be a boss affects one’s mind, as does being an employee. The office politics, the competition to climb the corporate ladder, the stress—all the unnecessary dramas produced by people under workplace conditions—are unavoidably caused by the nature of labor in business. This almost-biologically-mandated perversion of people in positions of authority has gotten much notice recently with regard to the police and their relationship to the communities they protect and serve. It would appear that any person given a gun to wear, and told to enforce the law, is in danger of becoming authoritarian, even violent towards those they ostensibly serve. But the same dynamics that obtain in that example are also true, to a certain extent, in any workplace where a manager is led astray by the urgings of power.

Because of this, it is safe to assume that, regardless of how many laws and regulations govern the workplace, it will always be an inherently unfair environment. Worse yet, this is only a statement of the influence of authority—it doesn’t even touch on the fact that people don’t necessarily arrive at a job with an intact, healthy psyche. People go through lots of stuff before they reach the legal age to get a job—and whatever traumas have formed their personalities are only exacerbated by ‘gainful employment’.

Indeed, this is true of people in general. Many are raised by less-than-perfect parents. Many are raised in religious fundamentalism, giving them a skewed perspective on reality. Many are raised in poverty, causing permanent fear and resentment towards those who live in comfort—and, conversely, being raised in wealth can lead many to become overbearing and dismissive towards the majority of the human race, particularly the poor.

The way we are raised, the conditions of our family and community life, the teachings of our spiritual leaders—all these things create a humanity that is far more disposed towards conflict than cooperation. The formation of an individual is so haphazard that a certain percentage of people can be expected to end up as murderers, rapists, thieves, and con-artists—and the rest of us are only relatively well-balanced. We are not perfect—we’re just good enough to stay out of prison, is all.

So when we speak of Civilization, of the Family of Man—or any such grand generalization—we are speaking in the aggregate of people who, as individuals, must each be considered potential time-bombs of anti-social behavior. And that behavior can take an infinite number of forms, from being crabby towards one’s own children, to being a cold-blooded dictator of an undeveloped nation. This clarifies the issue of ‘how can we be so self-destructive?” We can observe Humanity as a single entity, we can discuss Civilization as an overview of ourselves—but we have zero control over ourselves as a group.

Even when rules are so clear and exact as to describe a perfect situation, the troubles that live within each individual will eventually lead us to find ways to circumvent the spirit of the rules, to manipulate the letter of the rules, for selfish reasons. We have been in this race since Hammurabi’s Pillar, and even the lawyers find themselves working half the time in good faith with the law, and half the time working against it. When the rules get in the way of our dreams, we search for ways around the rules—it’s in our nature.

That’s us—nothing to be done about that. That was fine, back when the world was too enormous ever to be used up, back when God was in his Heaven, back before the Internet, when we weren’t on the cusp of quasi-AI and nanotech-enhanced, remote-presence medicine and self-contained, robotic Mars explorers. Now we don’t know whether to ban paraplegics from the Olympics because their hi-tech prostheses give an unfair advantage, or to baby-proof munitions factories so that single mothers can bring their kids to work.

In a recent broadcast, the discussion over e-share commerce brought out the point that Uber’s car service, while superior to existing urban transport, also circumvents a century’s worth of safety and regulatory legislation. This makes Uber both modern and primeval—they create a paradox by using modernity to circumvent civilization. (As of this writing, there is a news report that India has banned Uber due to a rape that occurred during a ride-share—an excellent example of the conflict between progress and human nature.)

Hacking has always been synonymous with coding—its only difference is in the suggestion of a rebel outlaw doing the coding. The term is important because software, like any tech, is open to both good and bad aims—but a hacker isn’t just a bad person who codes. Hacking can mean being a rebel, or a Robin Hood, who codes—possibly even a champion of human rights. Beyond that, the subject becomes one of syntax. But Hacking, as an activity, has also come to be synonymous with finding an easy way to solve or circumvent problems. So-called ‘life-hacks’ can be anything from the best way to refrigerate pineapple slices to the safest way to invest towards retirement. Hardly the acts of a criminal.

But Uber, and other e-share-oriented businesses, are busily pioneering the ‘corporate hack’, a digital backdoor that allows new forms of trade, free from the boundaries of written communication, brick-and-mortar competition, and civil oversight. These clever, new uses of the digital universe, however, create legislative loopholes faster than they generate new business models. The fly-by-night business, once confined to the mails, has now blanketed the globe via WyFy. A person without a physical location is not held back by the same constraints as a person who can be found behind the same counter on the day after you buy something unsatisfying from their shop. And when combined with computerized phone-answering, these businesses can even offer ‘customer service’ while still leaving the customer with no solid target for retaliation, or even complaint. Hence Yelp reviews, I guess.

So, complexity takes a quantum leap forward. Personal responsibility virtually evaporates. Global climate-change edges ever closer to global disaster. Population growth towers dizzyingly. Suddenly, our civilization is faced with an ultimatum—confine the term ‘civilization’ to mean only the one percent and consign the rest of us to savagery among ourselves -or- take a pick-axe to the existing paradigm through collective action. The first option is the most likely because it counts on the disorganized lack of action we can expect from ourselves as a group. The second option is far less likely, as it would require people, as a community, to act in their own best interest—something history tells us we have never, ever done before.

On the contrary, it seems that small, well-led groups of people are the only paradigm within which humanity can exert its greatest power. A team of dedicated people can be found at many of the central pivot-points of civilization’s history. Now, small groups empowered by technology, can accomplish incredible things—good and bad. Thus we witness the rise of SpaceX, a relatively new and tiny company that accomplishes things it once took a federal institution like NASA to orchestrate. And we see the birth of terrorist groups, without massive armies or host nations, capable of attacks on the world’s mightiest superpower. Even individuals have greater power than we ever dreamed—Snowden’s release of classified documents surprised us, in part, because it involved more pages of information than Edward, in an earlier age, could ever have moved without several large trucks—and he did it with a few clicks of a mouse, sending it all not just to one location, but virtually everywhere. That’s power—we all now have that power—any of us can send a mountain of information from one place to another, instantly.

Those of us old enough to appreciate the difference between then and now are hard pressed to encompass the meaning of such power as the digital age has conferred on us. Those young enough to take digital communication for granted have no idea how much the world will be changed by the growing inclusion of all seven billion of us into this information-empowerment. We tend to look at ‘progress’ as an ennobling evolution—that with great enough knowledge, surely wisdom must follow. But progress enables our fears as well, our greed and our bitterness—these things are provided with the same wings as our dreams.

So, at the end of all this trouble and woe, we find that improving ourselves and making things better for others is the most important progress of all.

But if truth is anything, it’s inconvenient. Take the Earth, for instance—looks flat, feels flat—and for hundreds of years, most people thought it was flat. Ancient Greeks who studied Philosophy (Science, before we called it that) knew that the world was round—some even calculated brilliant measurements that gave them a close approximation of the Earth’s diameter. Perhaps the Mayans, or the Chinese, maybe even the Atlanteans—knew similar stuff, but none of it mattered to Western Civilization during the Dark Ages. Most of ancient math and science would return to Europe during the Enlightenment via East, the caretakers of ancient knowledge during the chaos of post-Roman-Empire Europe—and, indeed, without that returning influx of science, Columbus may never have sailed.

These exceptions notwithstanding, the popular view was that the Earth was flat and arguing about it seemed a moot point. It was only after Columbus’s well-publicized return from the ‘New World’ that people began to see the globe, not as an intellectual exercise, but as a limitless expanse of unclaimed assets and resources. Now that there was land to be grabbed and money to be made, the world could be in the shape of a dodecahedron for all anyone cared. The truth of the world being round had ceased to be inconvenient.

But others remained. Now that we couldn’t avoid the image of all of us standing upright on the outside of a globe, gravitational force became another inconvenience. ‘Things fall down’ was no longer sufficient—because we now knew ‘down’ to be several different directions, and all of them inward, towards the center of the globe. Without Columbus’s voyages, there may not have been any cause for Newton to ponder the invisible force we call Gravity. But once his calculations produced the Laws of Motion, and the Calculus, it became possible to send a cannon-ball exactly where it would do the most damage. The truth of Gravity then went from inconvenient to useful—and physics was ‘born’. Between the chemists cooking up gunpowder and the mathematicians calculating parabolic arcs, the militant-minded leaders of early European states would forever-after find it convenient to shield the scientists from the witch-hunters and the clergy.

Science, however, would not confine itself to military uses. By the dawn of the twentieth century, we had begun to study ourselves. Archaeologists had studied our prehistoric past—and found it contained evidence of religion having evolved from primitive atavism to the modern churches. We discovered that God was a part of human lore, not of divine revelation—that God didn’t exist. This is the most inconvenient truth of all—and it has spawned a culture of debate, diversion, propaganda, indoctrination, and fundamentalist extremism. Half the world pines for the loss of innocence and simplicity—the other half is busy trying to undo science with suicide vests and beheadings.

I’ll always remain puzzled by this aversion to observable facts. We’ll trust science enough to take a ride across the globe in a multi-tonned, metal jet-airliner—but still hold it lightly enough that we pick and choose which science is convenient and which isn’t. Observable fact gets a bad rep—‘there’s more than meets the eye’; ‘all is not what it seems’; ‘the hand is quicker than the eye’—yes, observed fact can be misleading, but only because we feeble humans are doing the observing. Still, I consider the incompleteness of science to be a necessary characteristic of good science—observable fact may not be written in stone, but reproducible results are still of greater value than any other perspective has yet to offer mankind.

And the worst part is that we who believe in science are often so hard-pressed by theists that we shy away from the vital humanism that science lacks. It is, rather, all the more important to embrace what it means to be human in a world with no one to worship but ourselves. But we are too busy defending ourselves from people who would kill us in the name of their fairy tales.

More Xmas Music (2014Dec05)

I switched from Piano to Digital Piano because I couldn’t sing loud enough–but now, having heard my voice clearly, I’m not so sure….

 

Then I played a silly little pavanne…

 

And here are some photos of the neighborhood from this morning:

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and finally, here’s two videos from earlier this week:

 

 

 

 

 

A Seasonal, Regional Song (2014Dec03)

 

This is one of my favorite songs for Xmas:

 

And here’s an Improv to go with it:

 

Hope you like’em…

Political Arrangements! (2014Nov18)

What a day! I wrote a song, “Obama Went A-Courtin”; I played through two challenging piano arrangements, George Shearing’s take on “If I Give My Heart To You” and Bob Zurke’s version of “I’m Thru With Love”; and I threw in a couple of short improvs, just for fun…

 

“If I Give My Heart To You”
by Jimmie Crane, Al Jacobs, Jimmy Brewster
(c) 1953 Miller Music Corp.
Piano Interpretation by George Shearing:

 

“I’m Thru With Love”
words by Gus Kahn
Music by Matt Malneck, Fud Livingston
(c) 1931 MGM Inc.
Piano Solo Arranged by Bob Zurke:

 

Sing-Along Assembly (2014Nov13)

Thanks For Your Service (2014Nov11)

I’ll be watching the Concert for Valor later, but I wanted to play a little Veterans Day Concert of my own…

Weekend’s End (2014Nov09)

Well, it’s late on Sunday–if anyone thinks some quiet music will help get them off to dreamland, here you go…

(O, and I’m including two others (improvs, these) from yesterday…)

 

Freshly Tuned (2014Nov06)

What a week! Voting and dining out on Tuesday, collaborating with Pete C. on Wednesday, and today Chris Farrell came by to tune the old Mason & Hamlin Baby Grand. And the week’s not even over yet.

Here are three videos of me enjoying the fresh piano-tuning, then some photos of our rainy day, our kitchen–and I caught a couple of shots of Chris while he was tuning…

The Beatles covers are: “It’s Getting Better”,”Fool On The Hill”,”Flying”,”For No One”  —  I hope you like it.

 

 

 

 

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Pete’s Back! (2014Nov05)

Hooray! Peter Cianflone–in the house! Back to play along with the hermit pianist. And (my apologies for the camera work) his back to us the whole time! But it still sounds great:

 

Something Different (2014Oct28)

I keep to the extremes of classical piano music–I like to play the very old Baroque and Renaissance, or the very late Romantic and Modern composers for keyboard–but there are exceptions, to whit–Haydn, Mozart, and Beethoven (what little of his work is within my technical limits). But Johann Christian Bach (9/5/1735-1/1/1782) the “eleventh surviving child and youngest son of Johann Sebastian Bach. He is sometimes referred to as ‘the London Bach’ or ‘the English Bach’, due to his time spent living in the British capital, where he came to be known as John Bach.” [Quoted from Wikipedia] He falls into the Early Classical, if speaking of the chronology of music history–and is said to have had some influence on Mozart’s works, or at least his concertos–personally, I have trouble hearing such subtleties, so I leave it to you to decide.

One reason I avoid the less titanic composers is that the music of the greats sings out pretty well–even under the fingers of a clumsy dabbler like me–but the delicate and simple music of mere demi-gods such as J.C. Bach really throws a spotlight on inadequate technique–and the poor technique throws it right back, lighting their creations with a guttering fluorescent bulb, rather than the warm sunlight of a proper performer. In spite of this, whenever I make a halfway-decent show of sight-reading some interesting music (and this IS that) I can’t resist posting the proof on YouTube. This is one of those times.

One last thing–I couldn’t blame anyone for passing on 30 minutes of inept classical piano, but you really should give today’s improv a try–it’s got a tangy Spanish flavor at the start that I’m very pleased to have discovered.

 

 

 

Booked Into the Awesome Suite   (2014Oct22)

Wednesday, October 22, 2014            11:41 AM

It’s dull and chilly and damp today. Hardly inspiring. My mood slips in and out of types: melancholy, disinterest, avidity, disinterest, persistence, disinterest…. All in all, a good day to go lie down.

Well, big mistake—I got back up again. I played Bach’s English Suite No. 5 in e minor, plus fore-and-aft improvs. I’m making the videos now—not as exciting as I might have wished, but something to do.

I’m thrilled with this sudden increase in my ability to sight-read and play piano in general—but there are limits. For instance, no one should be surprised if the last few dances from the English Suite sound a little raggedy—after the first twenty minutes, even ‘new, improved’ me wasn’t really bringing the awesome.

Still, it’s so nice to be going through a slight improvement, for once—I can’t help but get carried away…

 

 

 

 

When I Fall In Love — With Shakespeare (2014Oct21)

Piano Cover: “When I Fall In Love” (plus “Improv- When In Love With Shakespeare”) (2014Oct21)

My early-morning, throat-clearing session:

A piano cover of “When I Fall In Love”,
followed by a brief improvisation which I have chosen to
entitle “Improv- When In Love With Shakespeare”.
(You may notice the improved quality of the vocals caused by the positioning of the camera closer to my mouth than the piano.)

Sonnet IV

Vnthrifty louelineſſe why doſt thou ſpend,
Vpon thy ſelfe thy beauties legacy?
Natures bequeſt giues nothing but doth lend,
And being franck ſhe lends to thoſe are free:
Then beautious nigard why dooſt thou abuſe,
The bountious largeſſe giuen thee to giue?
Profitles vſerer why dooſt thou vſe
So great a ſumme of ſummes yet can’ſt not liue?
For hauing traffike with thy ſelfe alone,
Thou of thy ſelfe thy ſweet ſelfe doſt deceaue,
Then how when nature calls thee to be gone,
What acceptable Audit can’ſt thou leaue?
   Thy vnuſ’d beauty muſt be tomb’d with thee,
   Which vſed liues th’executor to be.

Here Shakespeare uses finance as an allegory, exhorting the youth to spend his beauty carefully, not to waste it in self-satiety, but to produce heirs
that may enjoy his legacy.

Sonnet V

Thoſe howers that with gentle worke did frame,
The louely gaze where euery eye doth dwell
Will play the tirants to the very ſame,
And that vnfaire which fairely doth excell:
For neuer reſting time leads Summer on,
To hidious winter and confounds him there,
Sap checkt with froſt and luſtie leau’s quite gon.
Beauty ore-ſnow’d and barenes euery where,
Then were not ſummers diſtillation left
A liquid priſoner pent in walls of glaſſe,
Beauties effect with beauty were bereft,
Nor it nor noe remembrance what it was.
   But flowers diſtil’d though they with winter meete,
   Leeſe but their ſhow,their ſubſtance ſtill liues ſweet.

This and the following sonnet can be seen as a pair–both use the seasons to symbolize the passage of time and the path of life. Youth is warned to
distill something permanent from his Summer, to keep him through hideous Winter.

Sonnet VI

Then let not winters wragged hand deface,
In thee thy ſummer ere thou be diſtil’d:
Make ſweet ſome viall;treaſure thou ſome place,
With beauties treaſure ere it be ſelfe kil’d:
That vſe is not forbidden vſery,
Which happies thoſe that pay the willing lone;
That’s for thy ſelfe to breed an other thee,
Or ten times happier be it ten for one,
Ten times thy ſelfe were happier then thou art,
If ten of thine ten times refigur’d thee,
Then what could death doe if thou ſhould’ſt depart,
Leauing thee liuing in poſterity?
Be not ſelfe-wild for thou art much too faire,
To be deaths conqueſt and make wormes thine heire.

As with Sonnet V, the theme is the distillation of self against the losses of time’s passing–but with the specific notion, here, that ten children (!) make
a sure harvest against the poverty of age and death.

 

 

Crispy Day (2014Oct19)

Crispy, brisk, breezy, sunny autumn days like this one practically force me to break into song.
If youse was here, I’d make youse all sing-along, too!

 

 

Then there’s this mess….

 

 

And here’s some pics of the yard….

 

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Half of the ‘Seasons’ (2014Oct14)

Tuesday, October 14, 2014                  9:39 PM

XperDunn plays Piano on October 14th, 2014

Excerpt – six (6) ‘months’ from “The Seasons” (Op. 37bis)

by Pyotr Ilyich Tchaikovsky  (1840–1893)

 

  1. March: “Song of the Lark”
  2. April: “Snowdrop”
  3. May: “May Nights” [“White Nights”]
  4. June: “Bacarolle”
  5. July: “Song of the Reaper”
  6. August: “The Harvest”

 

–Tchaikovsky is among my favorite composers to play—many of his piano pieces are intended for beginner and intermediate level pianists, which put them within my grasp. When playing, for instance, Beethoven or Chopin, I have to select pieces that do not assume a virtuoso technique—leaving the majority of their works outside the realm of my possibility.

The twelve pieces known as “The Seasons” were commissioned by the publisher of a St. Petersburg monthly music magazine—Tchaikovsky contributed one piece per issue for the year 1886 (They were all written the year previous). Subscribers had the pleasure of learning a new piano piece to complement each month of the year—imagine a whole year in which Tchaikovsky sent you a monthly soundtrack to play in your family room or music room! The charm of their origin is one of the things that endear these works to me.

There are bits of poetry attached to each title ‘month’, but these were determined by the Publisher, not the Composer. They can be seen on Wiki—which, by the way, points out that Tchaikovsky didn’t exactly bare his soul to write these pieces—they were more by way of earning some extra dough.

Nevertheless, I ever return to this manuscript to play a piece or three—someday I aspire to play the whole thing, January straight through to December—but it’s no small effort and I remain challenged by a few, more demanding months (like “February”). In fact, I consider today’s video of merely half of the twelve something of a high point in my video recital career—it won’t win a Grammy, but it’s surely a personal best of sorts. I hope you enjoy it.

And my posts aren’t complete without at least one improv, and today’s no exception—“Maple Trees” also includes a clip of the wind in the trees in our yard today….

 

 

“How’m I ridin’? I’m ridin’ high.” (2014Oct10)

okay day, until just moments ago–guess I’m tired out… Here’s what did it:

 

 

 

It’s a Breeze (and 2 Piano-Covers) (2014Sep22)

I was up early today and just had to record the breeze in the trees–then I went inside and added music…

 

 

Then I attempted a couple of song covers:

 

 

 

Mid-Month Recordings (2014Sep19)

It’s been taking me some time to process and publish my recordings from Sept. 15th. Here are the only three that made the cut…

 

 

 

Tricks of the Trade (2014Sep13)

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Saturday, September 13, 2014                         11:07 PM

Click to Play: Bombastico II

The other day my camcorder’s tripod broke. It was cheaper to buy a bigger, better one than to get it fixed (plastic pieces, especially vital ones, always break—I hope they don’t think they’re fooling anybody). I move slowly and deliberately nowadays—I’m damned if I can figure out how I broke it. But that was a special case (I hope). More often I run out of charge and get disappointed that something I was surprised to get a record of—was not recorded at all.

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Yes, I run my camera a lot, but you know how hard it is to get a good recording when you’re self-conscious. Fortunately, I’m so absent-minded I can sometimes forget that there is a camera—but I have to run it every time, because I’m more likely to forget it when it’s always there.

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I’ve also learned that I have to check the little screen after I hit ‘record’—sometimes it’s telling me that the lens-cover is still up, or the data-card is still in the PC port. There’s also a toggle switch to set the ‘zoom’—I don’t know why they can’t just use a set-switch instead of a toggle. It toggles so fast that I end up zooming in and out and in and out. It’s ridiculous.

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The Internet is tightening up these days—only a few years ago I could download a graphic from Google’s Image Search and use it to make a point or to be funny—with all that stuff out there, it would be a shame to waste it and it’s isn’t like I’m getting rich off them. But those days are over. Not only have the graphics i-vendors created an overnight industry, they’ve found security measures that follow copies of their graphics. When they detect a Facebook posting or a blog graphic that ID’s itself as theirs, they contact you and threaten to sue you. So, goodbye Google Image Search.

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I just use my own photos now—I have several thousand (I’ve transcribed both sides of the families’ photo albums into videos—and some other work). Plus I just take photos of anything—but I have to remind myself to do it. I’m so used to the camera taking videos; I forget to take a few snaps before I turn it off. I’ll have to start taking more pictures, however, since my need for them has suddenly increased. My primary use for graphics has been, until now, the two end-cards I use to bracket my videos. I like to have a still shot as part of the Titles Card and I prefer to use a different photo for the Credits Card, which makes two photos per video.

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Now, I’ve begun using the old family albums (theirs and ours) to make videos to be overlayed onto the piano recital videos. This way I have something to look at as well as listen to. It may not improve the videos for everybody, but I have to work with what I have. Anyhow, because this will eat up a lot of my album collections, I’ll have to start using present-day snaps for the two cards, and sometimes for the overlay videos (I don’t want my family history to be the only thing in my videos).

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They always get me, I tell ya. Back in the eighties I recorded myself on an audio-cassette recorder and listened to the (unedited) tapes in my car—my daughter took some (which I was flattered by) but there were few others involved, even as an audience. Blank cassettes were pretty cheap, I used the built-in mike—et, voila! Aside from the audio-cassette player/recorder (which I would have bought anyway, to listen to music) it cost me close to nothing.

April Fools  Improv No. 2

April Fools Improv No. 2

I went from there to digital audio recorder, to camcorder, to HD camcorder with tripod—plus a few hundred bucks worth of software: graphics, audio-editing, video-editing, file-conversion, etc., and an external-hard-drive to hold it all. Some days I just say ‘f**k it’ and just play the piano. But I have gone so far as to buy mikes, an electric piano, and upload software to record straight from the keyboard’s MIDI port. I got it all hooked up, tried it out, and it scared me. It’s been gathering dust for a while now. It gives me the heebie-jeebies.

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Four Escapees From The Blackout (2014Sep06)

Only one of these videos was shot during the actual blackout, which was mercifully brief. “Improv – Damp and Warm” is a short one, anyhow.

The piano cover is of “Stand By Me”, written by American singer-songwriter Ben E. King, Jerry Leiber, and Mike Stoller. It was inspired by the spiritual “Lord Stand by Me” (plus two lines rooted in Psalms 46:2–3).

I’m working on a song–I can’t decide whether to call it “The Pit-Stop Diner” or “Best Pie For Fifty Miles”, but either way, I’m having some difficulty with the melody, hence my improvised ‘study’.

 

 

 

 

In Honor of the Lovely Bear de la Plume (2014Aug29)

XperDunn plays Piano
August 28th, 2014

Improv – Anniversary Eve

(Claire and I were married on August 29th, 1980–today we celebrate our 34th Wedding Anniversary. I played this last night near midnight…)

 

 

[added today:]

 

“Corcovado” got interrupted on this one…

 

More interruptions, but at least I got through the whole song this time….

 

I Think I’ll Quit Facebook (2014Aug21)

Wednesday, August 20, 2014                10:14 PM

I’m thinking of quitting Facebook. I’ve enjoyed ‘interacting’ with people—I was surprised that everyone in my past was still out there, living lives I knew nothing of. I was amazed at some of the accomplishments of people who I last saw as children, or at best, teenagers. The connectedness to all the latest of the very latest in politics, showbiz, art, music, movies, books, writing, poetry, science, astronomy, space exploration, gadgets, discoveries, and absolutely everything else, has made me feel much more in touch with the world and the people in it. It’s almost like a canoe that goes along; and you can slip your hand in the water and feel the world flowing through your fingers.

So why quit? There are several reasons. At the end of the day, I don’t want my sole output to consist of keystrokes, mouse clicks, and peering at a glowing screen (no matter how mind-blowing the graphic). I can’t ‘Like’ my way through life. And the shadows of Mordor are gathering, i.e. between commercial and marketing activity, and Facebook’s own mad-scientist muddlings with what does or does not appear on our feeds, Facebook has become a dark wood with giant spiders in it. Several of my Facebook friends have been hacked. The interloper was found and expunged, the true people are back behind their profiles, and all’s well—plus, we all have an eye out now, if any of our friends starts IM-ing or posting strangely—but the chill is in the air.

It’s unsettling—whenever anything such as the internet, or snowboarding, or break-dancing—whenever anything draws a crowd of happy, engaged people who not only watch the thing, but begin to participate in the thing, the filthy rich will set up some kind of commercial approximation of it. Thus the clock is started. Once anything becomes a commodity or an asset, the race is on. Who can attract more customers; who can find the cheapest costs, who can get the highest price? Who has the best marketing campaign? Ultimately, it becomes regulated, circumscribed, a dead thing, a shadow of its former inspiration. It becomes a dark doppelgänger of what it could have been.

But Facebook is still free. Rather than simply quitting, I should consider changing my privacy settings. I could restrict my profile to just friends and a few favorite content providers, like George Takei, The Daily Show, I fucking Love Science, etc. Then I wouldn’t have to wade through the posts that are cleverly disguised sociology-landmines, or outright sales-pitches. My favorite ad is the small one on the bottom right of the Facebook ‘frame’—it’s usually a picture of a large-breasted young lady without a shirt, with the tag-line: “You gotta see this!” I actually clicked on that thing before I knew what I was doing. But the site you’re brought to is like a small-town diner’s paper placemat, just full of local service-businesses’ websites—and just reeking of hacker-vulnerability.

But cutting myself off from the ‘fire hose’ kinda defeats the purpose of being plugged into the whole world—it’s kinda the point. Otherwise, I imagine my friends and I will all end up uploading phone-pics of our breakfast each morning!

I know to avoid anything on the side-ribbons of the Facebook frame—no matter how intriguing. And I know to look for those little logos that warn of a larger organization behind that post. But it takes so long and gets so tiring. So, I guess I’ll stick with my friends, for a while at least, until the foliage gets too thick to hack through to them… ..if it gets too bad, I may still have to perform some sort of self-intervention. Life should not be lived on a keyboard. I spend hours on the computer, preparing and posting my little videos and my little essays (like this)—but I will not ‘hang out’ here. I have a perfectly good front lawn—there’s even some decent lawn furniture to sit in and talk (to myself if necessary).

Now, this is not the fault of Facebook, this is a failing of our Capitalism—one of its many—but nothing, not even Facebook (“It’s free and always will be.”) can keep out their tentacles. Facebook is a fragile thing, and it has become a badly trampled garden. We’ve all experienced ‘trolls’—they can be blocked and are, therefore, relatively harmless—but the ones who crawl behind the code (like the employees fiddling with our Facebook feeds) are far more difficult to spot, much less defend against.

Sociology is a wonderful thing. I took a course in college—it was great. But the first thing they teach you is that individuals are random and unpredictable, but the larger the ‘sample size’ (# of people) you study, the more predictable they become. And the internet is a darn big ‘sample size’. Sociology is primarily used in marketing research—its most profitable use (though it has many more important uses going begging). So it is only natural for market researchers to salivate over a titanic mass of consumers, all with the power to pay by clicking a mouse. But Heisenberg is on our side—the stats are only valid if WE don’t know we are being observed.

I saw a Times article—a man clicks ‘like’ on everything he sees on his feed for two days straight—even stuff he hates, he clicks ‘like’. He started getting crazy feed-posts from such nutjobs that he was afraid he’d be put on a government watch-list. His Facebook friends’ feeds went crazy, they were all screaming at him, asking if he’d been hacked. And some administrator at Facebook eventually called him to talk about it! He was messing up their trending algorithms.

It sounded like fun, but then I thought maybe it’d be better just to sign off for good and all. Would I lose something important, something worth staying in my present mode of checking out Facebook for two or three hours every day? Well, there are some people I interact with almost every day, very nice folks all of whom I enjoy being in touch with. And we all share stuff from the internet-fed chaos around us. All of them are too far away to have any regular contact with outside of Facebook.

Now here is the hilarious record of what happens when I try to play doubles with a real musician, Peter Cianflone–it’s almost too embarrassing to post, but I had so much fun—The first picture is to click on for the entire playlist (listen to all five videos in a row). The five individual videos are available below that, so you can pick and choose as you like. Enjoy, I hope!

Click picture above to hear Playlist..

Click picture above to hear Playlist..

 

Love or the Patriot Act (2014Aug15)

 

 

 

 

Thursday, August 14, 2014                  3:11 PM

 

Love or the Patriot Act

 

Robin Williams is dead—an apparent suicide. And Philip Seymour Hoffman is still on my mind. Two of our greatest artists choose not to go on living—what is that supposed to tell us? Nothing good, that’s what. Lauren Bacall lived to a ripe old age—but those who worked for her or encountered her on the streets of Manhattan all agree she was quite scathing—nothing like the fond remembrances of Robin Williams that gush from everyone he ever met.

 

My late brother and I had a running debate on this—being nice, according to him, was a stupid waste of time—my attitude was that being nice to each other was the point of life. We both had firm beliefs in our opposite views—neither one of us could ever budge the other, nor did we get along all that well. But it seems we were just a dual personification of Yin and Yang—both pushing hard in different directions, which led to a spinning energy that neither of us could benefit from, nor be harmed by.

 

Why was I, the atheist, so sure that being nice to each other was the point of living? Well, when you take away the mythical support systems of the religious, you are left with no absolute reason to continue living—it becomes a choice. I see only one reason to make that choice, to face up to that challenge—and that is love.

 

But when love becomes a reason for greed or violence or persecution, it is a twisted thing. Whenever a parent takes from others for the sake of the family, the family learns a twisted definition of love. Whenever a patriot bad-mouths a foreign-looking citizen, he or she warps the true meaning of our country’s Constitution. Whenever a politician cries, “Be afraid—Be very afraid!” it is an insult to our founding fathers, who made a point of Freedom being something worth fighting and dying for.

 

The Patriot Act is a perfect example—politicians decide to cancel our civil liberties for our own good, just because someone might blow up a building (and this after hundreds of thousands of Americans have given their blood and their lives to earn those liberties).

 

Why has this become so confused? Because we seem to forget that Love, like Freedom, is more precious than life. Without love and freedom, we end up with a life hardly worth the name. We cannot insist on liberty for ourselves and deny it to others. We cannot both love and possess anyone or anything. Our love does not grant us title to the object of our love—to the contrary, it makes us a possession of our beloved. We don’t own our spouse or our kids—they own us.

 

We should be ashamed of our acceptance of the Patriot Act—its name tries hard, but its truth is as unpatriotic as Nazism or Communism. We have allowed this to continue long after the blind panic encouraged by the Bush administration had calmed down. We no longer support stupidity in the highest office. We no longer blindly support war against Bush’s enemies. Why do we hesitate to call for an end to the Unpatriotic Act? It is far more anti-American than the NSA phone-tapping that everyone got into such a flurry over.

 

The only thing we have to fear is fear itself, said FDR. Most people think, “Yeah, we shouldn’t be afraid—that makes sense”. But his words go deeper than that. Fear is the enemy of both love and freedom—we can choose, but we can’t have both fear and freedom. Liberty bounded by intimidation is a false concept—there’s another quote about ‘surrendering liberty for security ends up losing both’ or something like that. We have more pride than courage—we have more shame than faith in our country’s precepts.

 

The only thing Americans have faith in these days is money. They believe in the miracle of money, even as the power of money destroys our lives, our lands, our culture, and our country. It has even driven us to forsake the arts in our educational system—in spite of the fact that the arts are vital to understanding humanity (including ourselves). Outside of schools, the arts have become an industry—a multi-billion dollar industry that is, nevertheless, not important enough to include in our education programs. Go figure (at least you know math).

 

One important thing learned by studying the arts is that human expression invariably turns to love as its theme—the joys and sorrows of love are uppermost in everyone’s mind. Money is rarely the subject of a poem, a painting, or a song—and when it is, it is rarely shown in a good light.

 

Where did we lose the concept of sacrifice? We respect and honor it with words, when it comes to the military—but where else can we find anything but a jeering attitude at the thought of giving up something of ourselves for the sake of another, or of a group? We certainly don’t find it in business. We rarely find it in communities—the odd volunteer fire-person or EMT, the occasional volunteer food-outlet or shelter—but we find these rarities chronically understaffed.

 

I am as guilty as anyone. Whenever I’m asked to contribute to a charity, I feel like there are plenty of richer people who can just toss out twenties and fifties to whoever asks for it—the fact that generosity on my part would require doing without something for myself, when others can toss bushels-full at it and not even notice, seems unfair.

 

Plus, I don’t like the idea of crowd-sourcing programs that our taxes should be paying for—social engineering is beyond my experience and my budget, and if you don’t like ‘big government’, it’s only because you’ve never needed help. Having said that much, I must add that a lack of community involvement is as much a barrier to the inclusion of the marginal as any lack of funding.

 

Fortunate are the communities that knit themselves together—their lives are fuller and their opportunities are more diverse. I have noticed this especially in police-force communities—their isolation (or worse) from the general public drives them to seek each other’s company—they know the value of working together and of backing each other up—and the extreme danger of the job gives them all a strong sense of kinship. Does this lead to their sometimes thinking their wards are their enemy? I can’t say. But community is a strong tool—and a strong defense.

 

Babies will often create a temporary mini-community, when extended-family members and barely-known neighbors and a clique of schoolgirls who babysit, etc. will come together in common purpose. The group will slowly disintegrate as the baby reaches toddlerhood—but it will have acted as a community until that time.

 

The worst time is had by those who most need a community—those without family, those without homes, those without a support system of any kind. The worst communities are often those with the wealthiest residents—they pay their way through difficulties, hence they don’t want to pay for anyone else’s problems—and they’re too busy making more money to think of helping in some non-financial way, giving their time or attention to someone else.

 

Money can’t be simply thrown in the direction of the needy. The community must address their individual needs and concerns and then ask for money needed to achieve a specific goal. If a community has no leadership, or if leadership is without the support of a community, important issues are neglected. We do not need excitable or ham-handed leaders—we simply need responsible adults to think of their community as an important part of their lives.

 

Money is the score-keeper. Our lives are competitions. We all go after what we want; and someone wins, and the rest turn to other things. Our kids compete for class-levels, grades, scores, sports, and each other. It isn’t real competition—it’s more of a struggle to stay off the bottom. People like me, who have been forced to the sidelines by misfortune, are tempted to see ourselves as losers—for, even though life continues to be a struggle for us, our chances of scoring (i.e., making money) are zero. Those who are above the fray, the very wealthy, need only compete with the small number of their ‘peers’—and, more importantly, they change the rules as they go.

 

After decades of industry, banking, stocks, war armaments, monopolies, lobbying, and ‘person-hood’, the big-money people and corporations have widened the gap between themselves and the billions of blithely competing thralls of their unshakeable system. For they know the horror of our situation far better than we grasp it—the metaled jaws of commerce will macerate even the super-rich, if they get caught in a jam. Even a couple of billion dollars isn’t enough for this crowd—that’s still middle-class in their view. As the rule-makers, they have a horror of being made to follow someone else’s rules—so they’ve set the rules by now so it’s impossible for a nobody from nowhere to steal as much of other people’s money as they do. The Land of Opportunity and the American Dream have given way to a new American Order that says the money-people are fully in charge.

 

They scoff at people who work all day and don’t make enough money to both eat and take medicine. They look down their noses at the millions of chronically unemployed, as if the free-market system (which the money-people control) hadn’t put all those people out of their jobs. They lobby congress incessantly to protect their profits by legislating against our rights as employees, consumers, investors, homeowners, prisoners, or patients. Some of the worst corporations make their money from manufacturing weapons and outsourcing para-military mercenaries. They send jobs overseas to countries where the workers are more victimized than we are. They keep their money overseas so they can dodge their taxes, leaving us to pay for the communities they profit off of.

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As you may have guessed, I’m not a big fan of money. If I had any money, I’d give it to my wife—she’d know what to do with it. I’d be much happier if everyone else had money—or no one. It’s just not working anymore—all it can do, from here on in, is make things worse….

 

Yes, I know this blog entry is disjointed and confusing–I’m on medication now, and for the next six weeks… Hopefully the posts will become more coherent with time. In the meantime, read all my stuff with a grain of salt.

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Me n’ Serge n’ Niko (2014Aug03)

 

 

Now, I’m adding two more (I’m too lazy to create a new post–and it’s all from the same day, anyhow)…

 

 

“Publishing Piano Improvs on YouTube” (2014Aug03)

1,414 videos posted to date

1,414 videos posted to date

[ Original published online May 1st, 2014 by Mike Cook, Pro Drummer  –on Tumblr ]

Dear Mike:

You probably thought I spaced out on your request, but I’ve actually given it some thought nearly every day since you suggested it. I had some false starts, and some technical glitches, but I wanted to show you what I have so far. Please let me know what you think—

20140727XD-Improv-SundayAtDHop(AsIs)(TitlesCARD)

Thursday, April 17, 2014  5:32 PM –thru- Friday, April 18, 2014  6:18 AM

The Story of My Video-Making Video

Mike, a percussionist friend emailed me in February saying, “I was wondering if you would be interested in sharing your knowledge for composing piano pieces and recording them.” I agreed to try and make a quick video, an off-the-cuff, how-to video in which I imagined myself both talking and playing examples at the piano, etc.—nothing to it, I thought.

So then I turned on my camcorder and tried to talk extemporaneously about music, music-making, and the ins and outs of creating a video to be posted on YouTube (or wherever).

A Playlist of the complete session...

A Playlist of the complete session…

First, I started talking about the technical steps of shooting a video, uploading it to a hard drive, using special software to edit and polish the video, insert titles, credits, etc. Then it occurred to me that shooting, producing, and posting a video is no technical marvel nowadays—and was probably the last thing most people would want or need to learn. I should be talking about making my music.

But where to begin? Well, starting forty-something years ago, I had a roughly two-month period of actual piano lessons from a well-known pianist and subsequent piano-teacher, Muriel Brooks—she taught me how to read sheet music, she taught me the basics of fingering, the shape of the hand, touch, ornamental figures, sharps, flats, double-flats, naturals, key signatures, tempos, dynamics, phrasing, and so on. I began with scales and some Bach Preludes. She had bad news for me—and lots of it.

20140515XD-Improv-XophersGrounde(TitlesCARD)

Firstly, fifteen years of age is way too late to begin piano. Single digits are required, the smaller the better. Worse yet, my fingers were stubby—making them too wide to go between the raised black keys (something one must be able to do). Lastly—and this one I figured out for myself—piano requires a discipline that I never had. So I quit my lessons—they were expensive, and wasting her time and mine—as with school, in which the only books I didn’t read were books that were assigned reading—the only time I didn’t play piano was when I thought about my obligation to practice every day. I’m contrary that way—I can’t explain it, but there it is.

So from then on, I continued to play the Bach pieces, but not the scales—I was never going to slide up and down a given key-signature’s scale with the grace of swans gliding across a mirror-smooth lake—that stuff is for virtuosi, not for the musical hoi-polloi like me. And fifty years on, I still can only play a scale unevenly and slowly. I also had problems with my left hand—I hardly noticed I had one before the piano—I am right-handed with a vengeance. Piano requires the player to send his or her left hand, without looking, to a far-down bass note—this, to me, was like trying to land a Tomcat on an aircraft carrier at night. This has improved with time, but will never be the unconscious motion of a capable pianist—and it saddens me especially because the ‘walking bass’ is one of my favorite things about jazz and rag-time piano.

20140515XD-Improv-XophersSarabande(TitlesCARD)

The other thing that came to me right from the beginning was a desire to improvise. Once I realized that I could play chords and bass-notes in a one-four-five progression, I began to do that, over and over. And over—no one who lived with me back then could bear the sound of me banging on the same chords day after day. I was playing (and enjoying it) but I wasn’t listening to myself. I tried to put new chords in; I tried to play in a key other than C major—it was slow going. Then came cassette recorders—suddenly I could hear myself—and I did not like what I heard. Thus began my long journey towards listen-ability—an unfinished journey still—but one I will never stop traveling.

At the time, Keith Jarrett’s “Live At Köln” album was released, I happened to hear it—and I knew what I wanted to do with the piano. Subsequently I was also enamored with George Winston’s earlier LPs. I was, then, not aware that Keith Jarrett was tripping his brains out at Köln, or that George Winston wasn’t exactly improvising his performances. And it doesn’t really matter now, either, now that I know—their sound was what I was working towards, not their techniques (although, of course, the two are usually one and inseparable).

20140414XD-Improv-Brahms_s_Downfall(TitlesCARD)

And there was another, more basic, drive behind my piano playing—I decided that, if I couldn’t be good at it, I could at least be original. So my improvs have only one iron-clad rule—they can’t sound like any other musician’s music—they would be ugly and clumsy, but they would be different from anything you’d ever heard. In that sense I succeeded long ago—nobody sounds like me—but I’m still working on that listen-ability factor.

In a world that has gone copyright-crazy, I am a producer of original content—no small thing—and if I could get anyone to listen to it, I’d be in like Flynn. That is the only discernible value my YouTube videos possess—but I don’t use it—I post everything into the ‘Public Commons’ part of YouTube, which means anyone can use them without threat of lawsuit. I should be so lucky that someone thought my music worth ‘stealing’.

April Fools  Improv No. 2

April Fools Improv No. 2

I thought I’d address this aspect of my videos—I’d make quick cuts of me doing Vanna White’s arm-wave at my huge sheet-music collection, then my huge CD collection, then my huge LP collection (which, nevertheless, would have represented only a tenth of the LPs I once owned). I would explain how I had spent most of my adult life with classical-music radio stations playing in my office, in my living room, in my bedroom. As a tween, I became a consummate ‘stacker’—I could load a record-player with more LPs at once than anyone else I knew—this allowed up to two-hours-plus of hands-free music listening.

I studied music for a while, music theory, that is. I sang tenor in both high school and college choir. I have loved music all my life—but I did nothing but listen to it until Junior High School. That’s when I discovered the piano. The piano makes me happy—and boy, what a shot in the arm to music appreciation—no one can listen to and marvel at a great performance half so well as one who has tried to play the instrument. I thought Glenn Gould was very nice to listen to—but after I started taking lessons, his recordings practically made my head explode.

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And it goes beyond that—even violin, which I have never played—and which I didn’t care to listen to as a solo instrument up until that time—just the knowledge that someone’s fingers are teasing these exacting sounds from an instrument changes the experience beyond imagining. I used to feel sorry for people who avoided classical music—the idea that they would exclude centuries of great music from their lives seemed terribly sad to me.

Nowadays, I save my pity for people who have never played music. As solely a listener, I had already grown to love the sound of music—to have it explode into an even greater thrill as a consequence of taking a stab at it myself, that was without question the greatest thing life had to offer—and the average adult spends his or her whole life missing out on that—it’s just unbearably sad. The stats for youngsters aren’t much better—unless you count Rock-Star Hero, that video game with the guitar-shaped controller.

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So, long story short, I know music. And the advantage to that is in knowing when I’m playing something that someone else has already done. They say that twelve tones is a surprisingly small number of notes, considering that every song, symphony, or Mario Bros. background-track is comprised of nothing else but these twelve tones. But it should be remembered that this is only true of the Western Cultural music of Europe and the Americas. In the Orient there are instruments that allow for quarter-tones—which is why we Americans always perceive it as somewhat ‘twangy’.

Anyway, the point is that I was uniquely qualified to recognize bits and pieces of other people’s music whenever they came up, throughout my ongoing thrashing amongst the old eighty-eight (that’s slang for a piano—88 keys to a keyboard, you know). And as lackluster as my sound may be, it is no one else’s music re-hashed—or perhaps I should say it is all of music re-hashed—as the Beatles lyric says, “There’s nothing you can do that can’t be done. Nothing you can sing that can’t be sung…”

20140324XD-Improv-Sunrise(TitlesCARD)

There are things I always do the same—I almost always play octaves with my left hand (if I can’t be left-handed deftly, I might as well give those notes power and substance). And I rarely play anything other than major and minor triads with my right hand. As the years pass, I make forays into melody, and base-lines—but I always come back to my comfort zone. For me the playing is a meditation—any time it becomes too much about making good music, it takes me out of my musings. In a way, my improvs are just extended lullabies, whispering comfort to my tautly-strung nerves.

You may understand by this point that any description of my video-posting ‘process’ is a matter of too much to say—and yet nothing much to say at all. How shall I describe how to make up your own music as you go along? You just do. There are some rules, I suppose, but not good rules in a musical sense—allow yourself to be bad, allow yourself to be repetitious, allow yourself to change tempo at will, to change key at will, and most of all, don’t listen too closely—it makes you more likely to play recognizable tunes (it’s that pattern-recognition thing our brains are so good at—it works against the piano-improviser’s best interests).

Happy

Happy

Finally, as with so many things in life, if you’re not having a good time, you’re doing it wrong. My piano playing technique is customized for a player without an audience—I could count the number of times I’ve played in front of other people on one hand. And stage-fright is no help when one is trying to plumb nirvana with a push-button music machine.

So, I finally realized that I needed a script—improvising music is one thing, improvising an explanation is quite another. Here I am now, writing this rough draft of my talking points—but there’s no hurry. My faithful old camcorder decided a few days ago that it would only shoot out-of-focus pictures and videos from now on—the audio recording is still good, so I’m okay with it—but I can’t keep posting blurry videos to YouTube, no matter what kind of music I’m making. The new camcorder is due tomorrow, so the world will not end just yet.

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Seascapes, Bombast, and Russian Folk (2014Jul24)

Seascapes

I’ve made a study of ‘watery’ type music–a sort of mental collection (maybe because it’s my favorite type of sound image). I’m a big fan of Handel’s “Water Music” suites (and his “Music for the Royal Fireworks”–which was also performed on the same barges, upon the Thames). I once had a CD of solid surf recording for 55 minutes –guaranteed sleep aid–I wonder where it went?

Regardless, the following five pieces are my top picks for ‘oceanic coloring’ in music:

Apparently, the makers of “Master and Commander: The Far Side of the World” (2003) felt the same way I did about this piece–parts of it seem to be virtually the sound of the sea.

Ralph Vaughan-Williams – Fantasia on a Theme by Thomas Tallis (1910)

(Skip ahead to 02:30 in the following recording)

https://www.youtube.com/watch?v=jAtx578yaZ8

This Rachmaninov piece has been ‘borrowed’ by Eric Carmen for “Never Gonna Fall In Love Again” (’76) and by Barry Manilow for “If I Should Love Again” (’81). But it is so iconically romantic and lush that I have always thought of it as a sea voyage.

Sergei Rachmaninov – Symphony No. 2 Op. 27 III. Adagio

https://www.youtube.com/watch?v=QNRxHyZDU-Q

 

I defy anyone to listen to this famous bit of Brahms and not feel the deck roll beneath their feet.

Johannes Brahms: Symphony No.3 – Mvmt. 3  (starts at 22:33 in the following recording)

https://www.youtube.com/watch?v=XK4NcLcUH9o

And then there’s this gem–liquid, flowing, tidal, surging–It’s pretty oceanic, to me.

Jan Sibelius – Symphony No.2 – Mvmt. 4: Finale  (Starts at 29:52 in the following recording)

https://www.youtube.com/watch?v=IPd9znWgGLk

And one last bit of Sibelius–an excerpt from his 5th Symphony (Skip to time-mark 20:00 or so–the ending of the 3rd movmt leading into an unbelievable last mvmt!)

The above is a comment I put on a thread RE: Katchaturian’s “Spartacus”, the Adagio, of course (although I’ve learned to enjoy most of the entire suite, over time) which is undeniably gorgeous and very ‘seascape-y’. Why do I spend an hour preparing such an ‘essay’ of a comment for the one or two people that might actually read it (strangers, however)? What else am I going to do?

Anyway, speaking of music, I have here a new Improv and a selection of Russian Folk songs:

Click to Play: Bombastico II

Click to Play:
Bombastico II

 

20140723XD-RussianFolkSongs(TitlesCARD)

Click to Play Russian Folk Songs

 

Good evening, all.

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Rip Tide (2014Jul21)

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My new camera has been going gangbusters–but then my PC’s harddrive bit the dust! Five or six days without access to my programs and websites (like this one). This backlog was tremendous, but I’m nearly there–soon I’ll be living in the present again.

First off, there was a righteous jam session with my friend (and professional drummer) Pete Cianflone–

A Playlist of the complete session...

A Playlist of the complete session…

Then I had some hummingbird footage I lucked into from our garden–

 

Then I did some silly improvs–

and some silly song covers-

There’s some other stuff left over, but I didn’t have the peace of mind to do any writing or poetry or drawing (I get out of sorts when my system is down), so this will do for now.

Should I add some stills? Yeah, why not?:

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ttfn!

Lazy Dreamer (2014Jul08)

In this improv, I attempt to use thirteenth-chords and eleventh-cords (at least, I think I am doing so). It’s a little slow in the tempo, but I was doing a lot of thinking between chords (like I have to, when it’s a new idea or technique) so please don’t hold it against me. I think it came out kind of dreamy (hence the title) but it has a certain ugliness, too, because of the strange discords such complex chords tend to create… But I don’t mind ugly.

 

 

Listen, I play my song books every day; I have a zillion of them, and I have carefully documented nearly all my preceding videos of piano covers with the Title, Composer, Lyricist, and Copyright holder of each song. But on this recording, I give the cover of the songbook (The Johnny Mercer Song Book) and I leave it to you to look them up if you’re interested. Johnny Mercer was an incredible Lyricist, but he also published many songs with both Music and Lyrics by him–making him rather unique amongst his peers.

Here I just play fifteen minutes of songs I like–I didn’t sing along this time, but sometimes I have, on previous recordings.

Two More from The “Hand-Maid” and Two More from Me (2014Jun06)

 

 

 

 

 

 

 

And here are the pictures I used in “Rum-ta-ta-Tum” :

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Two from “Muficks Hand-maid” (1678) by Henry Purcell (2014Jun24)

 

I love seventeenth-century English keyboard works.

 

 

 

 

Two for the Italian Baroque–Two for Me (2014Jun21)

Well, things have been weird lately–Claire just started her new ‘Work Study’ job, Jessy just got offered extra work doing Real Estate photography on weekends, and Spencer and I are enjoying my new arrival of sour candies! I’ve been doing a lot of piano playing without the camera on–but here’s some new stuff I just did…

 

 

 

 

 

Hope you liked it!

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Nobody’s Perfect – I’m A Perfect Example (2014Jun09)

Ugh–blood draws tomorrow. Can’t eat after midnight, so I’ll make this short. Yes, I’ve played this stuff over and over–and my improv is nothing new or spectacular–but this is what I do.

 

 

Two From the Front Yard and Two From the Beach (2014Jun08)

I’ve taken some pictures and some outdoor footage and some piano recordings (and a little singing) and mushed it all up together for your delictation

 

The flowers are still showing off.

 

We have two old accordionist gnomes (actually, they’re squeezeboxes or something)…..

 

I just love the Beach Boys (contrary to the slaughtering of their songs!)

 

And here’s the stills:

 

 

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Th-th-that’s all, Folks!

Tweet-Tweet…Tweedle-De-Dete (2014May14)

Hi All. For today we are serving a taste of bird songs, followed by four folk songs from Russia–after that, I just happen to have an Improv, as well. Enjoy!

Being out in the yard is not just pretty flowers–you can hear the birdies singin, too. Stills of the shoot are displayed below the two videos…

 

 

 

 

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Session of Fools (2014Apr01)

Peter Cianflone came by on April Fools Day and here is the result, played on Piano, Bongos, and Assorted Tympani….

 

The Girl from Ipanema

The Girl from Ipanema

 

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April Fools Improv No. 1

 

April Fools  Improv No. 2

April Fools Improv No. 2

 

The Look Of Love

The Look Of Love

Telstar (Original Recording – 1962)

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Monday, March 31, 2014           10:04 AM

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What is it about this Tornados track that makes me play it again and again?  It could be that it was inspired by a dream Joe Meek had. It could be that the inspiration for the title was the launching of the first Telstar Telecommunications Satellite launched into orbit on July 10th, 1962. Did you know?—the Telstar (or ‘geosynchronous-orbiting satellite’), or rather the idea behind it, originated in an Arthur C. Clarke story! The science fiction and the rocket launchings of the 1960’s broke my childish mind into fireworks-like dreams of flight, exploration, and technology. If you are interested in learning more about the song, watch “Telstar: The Joe Meek Story” (2008)—it is an excellent film and a real slice of history, painlessly presented by a very entertaining director.

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Judging from the dreams it calls up from deep in my memory, the AM radio playing on the dashboard of my parents’ station wagon while we drove home from Jones Beach, I heard it at a time when I was happy in the way only children can be happy. One of five siblings, I was usually rolling around in the back of the wagon, avoiding the back-seat infighting (and the ensuing parental yelling).

Those trips to Jones Beach were happy, but they were full of fear, too. The waves could sometimes become (to my young eyes) skyscrapers of water, looming above, letting me know I’d be crushed and rolled and dragged over the rough surface beneath the water. I often wondered whether I’d be let back up again before my breath gave out.

Sometimes there was sky-writing!

Sometimes there was sky-writing!

And there was separation anxiety, too. Jones Beach was huge, disappearing into the horizon in either direction, thousands of families and friends laying out the towels that made the space temporarily their own. All the new ‘portable radios’ were tuned to the same AM station (Cousin Brucey) and the songs followed along wherever one went.

There were regularly spaced Life Guard Towers every hundred yards or so. If the waves tumbled me too far along the shore I would be faced with a beach that looked exactly like the one from which I had walked down to the surf.

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The only difference would be that my family was nowhere to be seen. This was a tricky little trap, for me at least—if all my siblings were in the water (which was always) I’d be looking for our blanket and cooler—not much to go on in the ‘Where’s Waldo’ world of Jones Beach in High Summer.

Plus, if I chose to go the wrong way, the result was getting further from my goal instead of closer. In the end, my mom usually had to yell at her confused, lost-looking little boy from her place beneath the Sun Umbrella. O, yeah. I forgot to mention, almost everyone had eight-foot-tall sun umbrellas—like patio umbrellas, but with a big spike for sticking it into the sand.

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But aside from all that, I loved Jones Beach. Ice cream and hot dogs and soda never tasted so good—even if the line at the Snack Concession was stupendously long. The sand was perfect for sculpture and construction—and the ebb and flow of the tide made everything transient—even if it wasn’t kicked over by some other kid.

But just imagine it—the TV was full of ‘space race’ news, the beach was full of joy, and the music coming out of all the radios was futuristic and new—but none compared to “Telstar”. We have become overly familiar with synthesized sounds—in the 1960s it was unheard of except for “Telstar”. To hear in the music itself the sound of electronics—it was a Pentecostal experience, but for the ears instead of the tongues. From that point on, I was less and less interested in acoustic music (and I’m pretty sure I wasn’t alone in that) and more and more craving the sounds of synth.

And that was actually a logical progression—one of the draws of rock n’ roll was the electrified sound of the guitars and the reverb, wah, and other effects added to the players’ or vocalists’ amplified sounds. But nothing says Synth like a keyboard.

I remember playing Wendy Carlos’ “Switched-On Bach” for my family, expecting them to be as enthralled with the sound (and the idea) as I was. But my Uncle John said it sounded like Alvin and the Chipmunks playing classical music. Everyone roared with laughter—and I was nearly in tears. What can I say? Music has always been very important to me.

The things music can do never cease to amaze me—it can make a chill go down my spine; it can make the hair on my arms stand up; it can bring me near tears; it can make me jump up and start dancing; it can make me laugh, sing along, howl along (if drunk enough), and even make me stare into space, lost in the wonder of it. I haven’t been to Jones Beach in decades—but music can still take me there.

 

One Grisly Nightmare [& Two(2) Piano Covers]

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Five Spot for (2014Mar26)

You’ll find lots of flubs and fluffs in the two sheet-music videos–can’t be helped. Try the three Improvs–they’re more listenable.

When You Wish Upon A Piano (2014Mar16)

XperDunn plays Piano Covers
March 16th, 2014

Improv – Th’Irish Wristwatch:        All credit goes to Geo. Takei’s FB post of this seasonal (St. Pat’s Day) tongue-twister!

Improv – Debbie Reynolds & Tony Randall:    I just watched their amusing movie (on Turner Classic Movies channel): “The Mating Game (1959) is an MGM film directed by George Marshall and starring Debbie Reynolds, Tony Randall, and Paul Douglas in his final screen appearance…          It’s a great film, especially if you enjoy 1950s-1960s rom-coms. It stuck with me, and I needed a title for this piece….QED

George Winston’s “Longing” and “Lullaby”:  I’m a rabid fan of George Winston–when I first began piano lessons, one of my goals was to be able to play some of his music someday–and while that day is yet to come, I get a real kick out of sight-reading through the music-book score!

 

 

 

A Great Bounty (2014Feb24)

Please enjoy:

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Seven Songs from the Sixties:
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[NOTES & CREDITS]
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Strangers in the Night
[From Wikipedia, the free encyclopedia]:
“Strangers in the Night”
is a popular song credited to Bert Kaempfert with English lyrics by Charles Singleton and Eddie Snyder. Kaempfert originally used it under the title “Beddy Bye” as part of the instrumental score for the movie A Man Could Get Killed. The song was made famous in 1966 by Frank Sinatra.

“Strangers In the Night”
Song by Frank Sinatra from the album Strangers in the Night
Released 1966
Recorded April 11, 1966
Genre Traditional pop
Length 2:35 (original album/single version, incorrectly listed as 2:25 in the original back cover)
2:44 (extended version from “Nothing But the Best”)
Label Reprise
Writer Bert Kaempfert, Charles Singleton, Eddie Snyder
Composer Bert Kaempfert
Producer Jimmy Bowen

Strangers in the Night (1966)
Writer : Bert Kaempfert, Charles Singleton, Eddie Snyder
Composer : Bert Kaempfert
========================================
Suzanne
[From Wikipedia, the free encyclopedia]:
“Suzanne”
Song by Leonard Cohen from the album Songs of Leonard Cohen
Released 1967
Genre Folk
Length 3:48
Label Columbia
Writer Leonard Cohen
“Suzanne” is a song written by Canadian poet and musician Leonard Cohen in the 1960s. First published as a poem in 1966, it was recorded as a song by Judy Collins in the same year, and Cohen himself recorded it for his 1967 album Songs of Leonard Cohen. Many other artists have recorded versions, and it has become one of the most-covered songs in Cohen’s catalogue.

========================================
The Sweetest Sounds (1962)
Song by Richard Rogers

The Sweetest Sounds
[From Wikipedia, the free encyclopedia]:
“The Sweetest Sounds”
Song from No Strings
Published 1962
Writer Richard Rodgers
Composer Richard Rodgers

“The Sweetest Sounds” is a popular song, written by Richard Rodgers (unlike most of his compositions, writing both music and lyrics) for the musical No Strings, in 1962. It is also used in the film adaption Cinderella starring Brandy, Whitney Houston and Whoopi Goldberg in 1997. Barbra Streisand recorded the song for “Barbra Streisand…And Other Musical Instruments”. Sergio Franchi recorded the song in 1963 on his RCA Victor Red Seal album Broadway, I Love You. Ella Fitzgerald’s swinging version can be heard on her Verve Records release “Hello, Dolly!”. The melodic theme appears to have been inspired by an orchestral figure in the final movement of Johannes Brahms’ Piano Concerto No. 2 (Brahms) (measures 64-80).

========================================
Those Were The Days (1968)
Writers: Boris Fomin and Gene Raskin
Those Were the Days (song)
From Wikipedia, the free encyclopedia
For the All in the Family theme song, see All in the Family#Theme song.
“Those Were the Days”
Single by Mary Hopkin
B-side “Turn! Turn! Turn!”
Released 26 August 1968 (US)
30 August 1968 (UK)
Format 7″ single
Recorded mid-July 1968
Genre Folk[1][2]
Length 5:05
Label Apple
Writer(s) Boris Fomin and Gene Raskin
Producer(s) Paul McCartney
“Those Were the Days” is a song credited to Gene Raskin, who put English lyrics to the Russian romance song “Dorogoi dlinnoyu” (“Дорогой длинною”, lit. “By the long road”), composed by Boris Fomin (1900–1948) with words by the poet Konstantin Podrevskii. It deals with reminiscence upon youth and romantic idealism.

Georgian singer Tamara Tsereteli (1900–1968) and Russian singer Alexander Vertinsky made what were probably the earliest recordings of the song, in 1925 and in 1926 respectively.
The song is featured in the 1953 British/French movie Innocents in Paris, in which it was sung with its original Russian lyrics by the Russian Tzigane chanteuse Ludmila Lopato, but is probably best remembered in English-speaking countries for Mary Hopkin’s 1968 recording, which was a top-ten hit in both the US and the UK. On most recorded versions of the song, Raskin is credited as the writer, even though he wrote only the later English lyrics and not the melody.

History:

In the early 1960s Raskin, with his wife Francesca, played folk music around Greenwich Village in New York, including White Horse Tavern. They released an album which included the song, which was taken up by The Limeliters.

Raskin had grown up hearing the song, wrote lyrics in English and then put a copyright on both tune and lyrics. The Raskins were international performers and had played London’s “Blue Angel” every year, always closing their show with the song. Paul McCartney frequented the club and, after the formation of The Beatles’ own Apple Records label, recorded the song with Mary Hopkin, McCartney’s agent having purchased the song rights from Raskin’s.

The song was subsequently recorded in over twenty languages and by many different artists and Raskin was able to live very well on the royalties, buying a home in Pollensa, Mallorca, a Porsche Spyder and a sailing boat.

At the peak of the song’s success, a New York company used the melody in a commercial for Rokeach gefilte fish, arguing that the tune was an old Russian folk-tune and thus in the public domain. Raskin successfully sued and won a settlement, since he had slightly altered the tune to fit his lyrics and had taken out the valid new copyright.

Although the song was popularized in the early 1960s by The Limeliters, Welsh singer Mary Hopkin made the best known recording, released on 30 August 1968, shortly after Hopkin had been signed to the Beatles’ newly created Apple label. Hopkin’s recording was produced by Paul McCartney and became a #1 hit in the UK Singles Chart.

In the US, Hopkin’s recording reached #2 on the Billboard Hot 100 and topped the Billboard Easy Listening charts for six weeks. In the Netherlands it topped the charts for 2 consecutive weeks.

The Russian origin of the melody was accentuated by an instrumentation which was unusual for a top ten pop record, including Balalaika, clarinet, hammer dulcimer, tenor banjo and children’s chorus, giving a klezmer feel to the song.

Paul McCartney, who produced the session, also recorded Hopkin singing “Those Were The Days” in four other languages for release in their respective countries: Spain, Germany, Italy, France.
========================================
A Time For Us
-Romeo and Juliet (1968 film soundtrack)

[From Wikipedia, the free encyclopedia]:

Romeo and Juliet 1968 film Soundtrack album
Released October 8, 1968
Genre Film score
Label Capitol
Producer Neely Plumb

The soundtrack for the 1968 film Romeo and Juliet was composed and conducted by Nino Rota.

It was originally released as a vinyl record, containing nine entries, most notably the song “What Is a Youth”, composed by Nino Rota, written by Eugene Walter and performed by Glen Weston. The music score won a Silver Ribbon award of the Italian National Syndicate of Film Journalists in 1968 and was nominated for two other awards (BAFTA Award for Best Film Music in 1968 and Golden Globe Award for Best Original Score in 1969).

The soundtrack is referred to as “Original Soundtrack Recording” on the front cover with further credits to the film itself.

Composition:

The original track list includes anthems, song snatches, compositions for the ball and for a strolling trombone player.
The neo-Elizabethan ballad “What Is a Youth” is performed by a troubadour character as part of the diegesis during the Capulets’ ball, at which Romeo and Juliet first meet. The original lyrics of “What Is a Youth” are borrowed from songs in other Shakespearean plays, particularly Twelfth Night and The Merchant of Venice.

Although Rota’s original manuscript is believed to be lost, the love theme is known to have an original published key of G minor. Romeo’s theme was described as “a slow-paced minor key idea, first played by a solo English horn with strings”. In the scene, where Romeo sees Juliet dancing with her family, the theme is sounded by a solo oboe over a background of tremolo strings.

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The Times They Are a-Changin’ (1963)
Song by Bob Dylan

[From Wikipedia, the free encyclopedia]:
“The Times They Are a-Changin'”

Single by Bob Dylan
from the album The Times They Are a-Changin’
Released January 13, 1964 (album)
March 8, 1965 (single)
Format 7″
Recorded October 23 – 24, 1963 at Columbia Studios, New York City
Genre Folk
Length 3:15
Label Columbia
Writer(s) Bob Dylan
Producer Tom Wilson

“The Times They Are a-Changin'” is a song written by Bob Dylan and released as the title track of his 1964 album, The Times They Are a-Changin’. Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Released as a 45 r.p.m. single in Britain in 1964, it reached number 9 in the British top ten and was Britain’s hundredth best selling single of 1965.

Ever since its release the song has been very influential to people’s views on society, with critics noting the general yet universal lyrics as contributing to the song’s everlasting message of change. The song ever since has been an occasional staple in Dylan’s concerts. The song has been covered by many different artists, including The Byrds, Peter, Paul, and Mary, Simon & Garfunkel, The Beach Boys, Joan Baez, Phil Collins and Bruce Springsteen. The song was ranked #59 on Rolling Stone’s 2004 list of The 500 Greatest Songs of All Time.

Inspiration and composition:

Dylan appears to have written the song in September and October 1963. He recorded it as a Witmark publishing demo that month, a version that was finally released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. The song was then recorded at the Columbia studios in New York on October 23 and 24, and the latter session yielded the version that became the title song of Dylan’s third album.

Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe: “This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads …’Come All Ye Bold Highway Men’, ‘Come All Ye Tender Hearted Maidens’. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close for a while and allied together at that time.”
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Try To Remember (1960) from “The Fantasticks” –
with music by Harvey Schmidt and lyrics by Tom Jones

[From Wikipedia, the free encyclopedia]:

“Try to Remember” is a song from a 1960 musical with music by Harvey Schmidt and lyrics by Tom Jones, “The Fantasticks”.

It is the first song sung in the show, to get the audience to imagine what the sparse set suggests.
Its lyrics famously rhyme “remember” with “September”, “so tender”, and “December”, and repeat the sequence -llow throughout the song:
Verse 1 contains “mellow”, “yellow”, and “callow fellow”;
verse 2 contains “willow”, “pillow”, “billow”;
verse 3 contains “follow”, “hollow”, “mellow”;
and all verses end with “follow”.

“Try to Remember” was originally sung by Jerry Orbach in the Original Off-Broadway production of The Fantasticks.
“Try To Remember” made the Billboard Hot 100 pop chart three times in 1965 in versions by Ed Ames, Roger Williams, Barry McGuire, The Kingston Trio, The Sandpipers, and The Brothers Four. Patti Page released a version in 1965 on her album Hush, Hush, Sweet Charlotte. Andy Williams released a version in 1966 on his album The Shadow of Your Smile. Perry Como released a version in 1968 on his album Look to Your Heart.
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Three Songs And An Improvisation (2014Feb12)

 

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XperDunn plays Piano
February 12th, 2014

3 Standards: ‘Look of Love’, ‘Lovers Concerto’, ‘Love Is All Around’

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[From Wikipedia, the free encyclopedia]

The Look of Love (1967 song)
Released January 29, 1967
Recorded Philips Studios, London
Composer: Burt Bacharach Writer: Hal David

Ursula Andress inspired Burt Bacharach to compose “The Look of Love” watching her in an early cut of the film Casino Royale.

The track is played while Vesper Lynd seduces Evelyn Tremble, observed through a man-size aquarium.

“The Look of Love” is a popular song composed by Burt Bacharach and Hal David and sung by English pop singer Dusty Springfield, which appeared in the 1967 spoof James Bond film Casino Royale.

In 2008, the song was inducted into the Grammy Hall of Fame. It also received a Best Song nomination in the 1968 Academy Awards.
====================================
====================================
[From Wikipedia, the free encyclopedia]

“A Lover’s Concerto” a single by The Toys

from the album: The Toys Sing “A Lover’s Concerto” and “Attack!”
Released 1965
Writer(s) Sandy Linzer and Denny Randell, Christian Petzold

“A Lover’s Concerto” is a pop song, written by American songwriters Sandy Linzer and Denny Randell and recorded in 1965 by The Toys.

Their original version of the song was a major hit in the United States, the UK and elsewhere during 1965. It peaked on the US Billboard Hot 100 chart at number 2
====================================
[From Wikipedia, the free encyclopedia]

“Love is All Around”
Single by The Troggs
Released October 1967
Label(s): Page One/Fontana UK; Fontana (Mercury) US
Writer(s) Reg Presley

“Love Is All Around” is a song composed by Reg Presley and originally performed in 1967 by Presley’s band, The Troggs, featuring a string quartet and a ‘tick tock’ sound on percussion, in D-major. Purportedly inspired by a television transmission of the Joy Strings Salvation Army band’s “Love That’s All Around”, the song was first released as a single in the UK in October 1967.

On the US Billboard Hot 100, the record entered at No.98 on 24 February 1968, peaked at No.7 on 18 May 1968, and spent a total of 16 weeks on the chart.
====================================
Lastly, the graphics are by Hokusai

Four by Three (2014Jan29)

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Please Note: The last video is two song covers of songs written by : Howard Dietz and Arthur Schwartz

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From Wikipedia, the free encyclopedia: Dancing in the Dark (Howard Dietz and Arthur Schwartz song)

“Dancing in the Dark”
Music by Arthur Schwartz
Lyrics by Howard Dietz
Published 1931
Recorded by Artie Shaw, Ella Fitzgerald, Frank Sinatra, Fred Astaire, et. al.

“Dancing in the Dark” is a popular song first introduced by John Barker in the 1931 revue The Band Wagon.
The 1941 recording by Artie Shaw and His Orchestra earned Shaw one of his eight gold records.
It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook.

====================================

From Wikipedia, the free encyclopedia: Alone Together (song)

“Alone Together” is a song composed by Arthur Schwartz with lyrics by Howard Dietz.

It was introduced in the Broadway musical Flying Colors in 1932 by Jean Sargent. The song soon became a hit, with Leo Reisman and His Orchestra’s 1932 recording being the first to reach the charts.
The first jazz artist to record the song was Artie Shaw in 1939.
====================================

A Sobering Tuesday

 

(with my apologies for the mistakes…)

 

Notes:

Illustration from Samuel Taylor Coleridge’s “The Rhyme Of The Ancient Mariner”
Engraved by “Paul” Gustave Doré [Jan. 1832–Jan. 1883]

[From Wikipedia, the free encyclopedia]:
“Evergreen (Love Theme from A Star Is Born)”

Single by Barbra Streisand
from the album A Star Is Born: Original Motion Picture Soundtrack

B-side “I Believe in Love”
Released December 1976
Label Columbia

Writer(s) Barbra Streisand, Paul Williams
Producer Barbra Streisand, Phil Ramone

Streisand and Williams earned an Academy Award for
Best Original Song as composers of the song.

With “Evergreen”, Streisand also earned a
Grammy Award for Song of the Year.

She and Williams also won Golden Globes
in the category of Best Original Song for the song.

Magnificent Seven (2014Jan06)

 

 

 

 

 

 

 

 

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I watched “The Magnificent Seven” yesterday and was reminded of one of the reasons it’s a classic–that incredible Elmer Bernstein score, including the theme used for so many years by ‘Marlboro Man’ TV spots, back when Marlboro cigarettes were allowed to advertise on TV. Unfortunately, my improv has no connection with that stirring music, except as the inspiration for today’s title…

Perhaps it will help if I include a YouTube link to the M7 soundtrack

(It’s most Magnificent thing about the movie):

Almost Made It–But The Battery Pooped Out On Me

A New Year Extravaganza! (2014Jan03)

Okey-smoke, folks.

Snow has fallen. Air is sharpened by wind. Good day to stay inside.

Jessy lost one of her memory cards–if anyone knows where she left it, please advise…

Well, I don’t usually inflict an entire Bach keyboard partita on my long-suffering followers, but today I had a whack at the a minor, see results below.

 

 

Hope you like it….

Four New Vids (2013Dec20)

Okay, I have a long one here, 20 minutes or so of xmas carol songs–I neglected to sing along, so it’s just the piano part.

Then I did two improvs in that same recording session that I’m calling ‘xmas stuff’ & ‘more xmas stuff’.

And the final upload, a left-over from a few days back, totally non-holiday-related.

Enjoy…

 

 

 

 

 

Easily-Disproved Fantasies

Thursday, December 12, 2013            3:30 PM

“For old Ralph, former top quick draw artist,

lousy guitar player, tossed in the ground yesterday[…]”

                                     — (c) Dec. 12th, 2013 by Dean J. Baker  http://deanjbaker.wordpress.com/

I highly recommend Dean Baker’s blog “Dean J. Baker – Poetry, and prose poems”. I read this today, from his poetry-blog, and it struck me how my take on these words would differ from that of others’. You see, I’ve been playing lousy piano for most of my life, and I’m proud of it.

We bad musicians are an elite few—we cannot restrain ourselves from playing badly, figuring lousy music is better than none—we don’t concern ourselves with bad reviews because we’ve never gotten a good one. (O, sure, you get those fake good reviews from people who love you—but they only highlight the lack of enthusiasm amongst strangers.)

It doesn’t surprise me that Old Ralph was homeless—we lousy musicians are easy prey amongst the people that face reality, that have black and white judgments on things—we need our dreams and we don’t see any great value in tearing them down. We dislike the smart-alecks who insist that hungry is hungry and cold is cold—as if we have never been hungry and cold (or, as if they ever had been).

It is the voice of fear. Yes, fear has its place—but I’m convinced that we’ve taken ‘fear’ into a strange, new place. We’re not concerned so much about climate change, but we fight like dogs over water rights. We’re not concerned so much for fundamentalists who endorse ignorance over curiosity, but we argue late into the night about why God created us 10% homosexual and how we should treat that 10%.

We witness politicians legitimize fear with legislation. We see capitalists use our fears against us. We see major faiths enshrine age-old fears. And more and more we see the powerful super-wealthy advertising their most cherished fears as if they were common sense—actually spending money to form puppet NPOs and buying airtime to spread their solipsisms from coast to coast.

We can never go back, either. When society makes a technological advance these days it is pre-formatted to fit in with the existing tech (think USB ports). To fail to use the new, next thing is to be instantly mired in obsolescence. High-finance types and legislators use this to their advantage—if they can put in a fix, the world goes by too fast for anyone else to undo their treachery (think the ‘derivatives market’). And the truly gigantic egos that struggle to keep their hands on that tiller—well, their interests aren’t exactly congruent with the 99%.

But I digress. Shying away from advanced tech, or circumventing tech altogether, as the Amish sometimes do, is only protected by the massive civilization that surrounds them—this is a dead end, as it would put us even further under the sway of the top of the pyramid. See ‘hippy communes’ for more information regarding the abuse of power in a small community—and how it makes just as much trouble as the super-wealthy do in their element, i.e. world domination.

Thus we are disabused of the fantasy of idyllic retreat. Pollution, de-forestation, and gorging on non-renewable resources are all in fast-forward mode. We can’t turn our backs on the entrenched powers-that-be, because they are rushing pell-mell towards the destruction of the planet. And speaking of speed, this situation isn’t static—the human race has jumped onto a speeding, out-of-control train—we have to fix things with one hand as we hang on for dear life with the other.

Which brings up another problem—we already have a lot of problems, many of them involving hunger or hatred, and we can interrupt any effort to alleviate one of those problems simply by pointing out that some other problem is being neglected—the politicians keep us running in circles while little change is realized. We now have a full panel of distractions (other problems) the number of which is so large that conversations may go on for days without reaching any clear point.

So, yes, I say that maintaining our dreams is invaluable—and this applies to easily disproved fantasies as well—because modern problems surround us, threaten us, every damn day. We must do what we can, try as we might—in spite of our society appearing to head full-speed towards its own destruction—and in that struggle for change and the struggle to survive, to care for our families and their futures, we need a little rest stop now and again. If I pretend to be a piano player, where’s the harm? If I was trying to interrupt a concert at Carnegie Hall so I could play for the audience myself—well, that’s just plain crazy—and I am by no means endorsing crazy (another time, perhaps). But if I just play to myself there’s no reason to cure me of that delusion other than cruelty or spite.

And so I mourn old Ralph, the lousy guitar player—and I mourn the loss of his brave example, playing guitar to soothe his soul — even when others didn’t applaud.

Backwards Bach

I’ve been playing Bach for several decades (make that trying to play Bach) and sometimes, just to keep things fresh, I start at the end of the book and play each dance in reverse order. I still repeat the minuet after its middle part–but otherwise I go from last dance to first dance. Anyhow…

Click to watch YouTube Video

Click to watch YouTube Video

 

Click to watch YouTube Video

Click to watch YouTube Video

 

Click to watch YouTube Video

Click to watch YouTube Video

 

 

This Is One Of Those

Monday, November 11, 2013              5:58 PM

Marconi at his desk

WIKI: [“They All Laughed” is a song composed by George Gershwin, with lyrics by Ira Gershwin, written for the 1937 film Shall We Dance where it was introduced by Ginger Rogers as part of a song and dance routine with Fred Astaire.]

Lyrics Excerpt:

“They all laughed at Christopher Columbus /When he said the world was round

They all laughed when Edison recorded sound

They all laughed at Wilbur and his brother/ When they said that man could fly

They told Marconi, wireless was a phony / It’s the same old cry

They all laughed at Rockefeller Center / Now they’re fighting to get in

They all laughed at Whitney and his cotton gin

They all laughed at Fulton and his steamboat

Hershey and his chocolate bar

Ford and his Lizzie kept the laughers busy

That’s how people are…”

True that, as the kids might say. That’s how people are. Why is doing something new such a big deal? Why is it that people go crazy whenever a person tries to stop an old mistake, or make something new that makes things better?

You’d think we’d have gotten over it by now—or at least learned not to be panicked by the new.  When astronomers said the Sun didn’t go around the Earth, I could see why some of them could have been burned at the stake—it was a long time ago, and who really knew anything, right? But then they used that information, along with telling time, and a compass, to navigate out of sight of shore.

Did the big bosses at the Vatican say sorry? Well, yes, they did. But it was just a year or two ago—like, six centuries too late for those crispy scientists-on-a-stick—o, well! Then there was slavery. It’s eerie how the Spielberg film, “Lincoln”, showed legislators in Congress debating whether slavery should be forbidden—very similar to the same scenes in old movies, and in modern movies and now on CSPAN (et.al.) right up to the latest news-cycle—like recently, when the government shut down for two weeks because they were against something new, I was watching CNN, CSPAN, and the PBS-related news-programs. At times, these days when I have too much time all the time, I’ll have to sometimes check myself, and differentiate the ‘current events’—extended TV show and any of the fictional entertainment I might be channel-surfing past.

We watch “Lincoln” and we think to ourselves, well, of course they’re going to prohibit owning people—but that’s only because we know how it ends. At the time, those conservative yahoos truly argued, with straight faces, against the criminalization of their presumption of superiority. The more frightened they were at the thought of changing the status of the African-Americans from chattel to citizenry, the harder they argued to keep things as they were. One might speculate that having a vehement opponent—which righteousness is prone to be—the conservatives’ fear of the unknown may have been brought to the level of panic by the addition of the sense that they were being rushed into something. Either way, there is neither any change in a conservative’s feeling of being rushed nor in his, or her, belief that all change is a bad thing.

I was young enough to be surprised about the male uproar over women’s lib, as it was labeled in my day—I thought, here we’re well into the fight for racial equality—most intelligent people have come to feel uncomfortable with showing themselves to be bigots in public—and yet the simple commutative principal that I’d used to equate accepting the equality of African-Americans with our own mothers and sisters—and daughters—being given that same equality before the law—and, rightfully, in our hearts—this ‘elephant in the room’ of mine was invisible to many men. And it was easy to see why—they were terrified—they’d seen too much Donna Reed as children—and someone was trying to shut down all the Stepford Wives, leaving them with a bunch of chores they didn’t know how to do—and that part was just scratching the surface.

Shunning had thrived in the later centuries, under its new guise of ‘propriety’. The World Wars that take up the first half of the twentieth century kept everyone’s face in the dirt. But once we woke up to the 1950s, women had both served in an official capacity—nurses and WACS and WAFS, etc.—and in bomber-manufacturing, etc., at home—the majority of them weren’t about to object to the dream of keeping a nice big house while the man did all the paid work. But indoor plumbing, a modern range-oven, washer-dryer, vacuum, station wagon to the market—all such activities had reached a tipping point.

We had reached a civilization milestone—a woman no longer required the full twenty-four hours of each day to do the once-gargantuan task of doing all that stuff without appliances, or hot and cold running water. It passed by with little fanfare—no doubt most men suspected their ‘homemakers’ weren’t really ‘working’, you know, like they were—and saw no great change being implied. Big mistake. Women work very hard—in my experience most women work harder than most men. Once they could reach the end of the work before the end of the day, they didn’t stop working. The just started working on new things, new ideas—and you know, I’m sure, how that kind of nonsense ends up, right? Yeah, next thing you know, they’re saying, “Hey, we didn’t care when we were too busy to listen to your bull, but now that we have the leisure to consider your verbal nonsense, you’re starting to piss us off.”

Now, I saw this coming a mile away—I just couldn’t believe the conservative line on women’s lib—bunch of Bible stuff and a dash of reductionist sociology, et Voila! Nothing. What can one say? Am I going to walk up to my mother and tell her she doesn’t deserve as much respect as I do? In what universe?

It’s a constant drum-beat throughout history—Monotheism is an abomination—kill the Pharaoh! Christianity is wrong—kill the Christians! The Christians are in charge—kill the non-Christians! Alchemy is witchcraft—kill the chemists! Astronomy is sacrilege—kill the mathematicians! And—you know—I just wanted to pause here, and consider that there has been a major change—we don’t just kill people in bunches any more—well, most of us, most of the time, anyway.

And so the new fashion is to ridicule discoverers and inventors and explorers or scientists in general. We’d still kill you for some atrocities—like if you were gay or transvestite or Jewish or Gypsy… ..well, anyway, a lot of murders go unsolved, even today when every drama show is a training tape for the police academy—so you can imagine how easy it was for the sociopaths to prey on the outcasts in earlier times, up to say, the 1950s and 60s.

After that, the FBI started using new evidence collected through science—and now it’s like a science fiction movie what the police go through at, say, a murder scene. But we still haven’t changed anything about our prisons—there was a time of optimism, when Robert Redford played a new prison warden (with a heart, of course) and they took to re-naming prisons as ‘rehabilitation centers’, but there is no significant change in the way we punish criminals—except they have to do their time without a cigarette nowadays.

I don’t know nothing about criminology—all I know is no one changes anything about prisons—and I’m pretty sure we have found better ways to deal with criminals by, what’s it today? –2013, yeah—well into the twenty-first century and we still put people in cages—that’s just wrong. We’re not even trying, on that one.

But aside from prison and the grave, ridicule can still do harm to people that are only trying to make things better. Those germ guys—Lister and Pasteur, the established medical community gave them both a very hard time. Did they spend years afterwards, giving speeches of apologies—no, that doesn’t happen. The ridicule—always—the sincere retraction and apology—only spoken of, never witnessed, to my knowledge.

Who else—O, yeah—the whole electricity crowd—people refused to believe Bell when he first demonstrated it in public—not everybody, just the you-know-whos. And Marconi’s wireless radio, O—and I almost left out the big dog, T.A. Edison—let’s tick’em off, shall we? 1st Electrical Turbine, 1st Light Bulb, 1st to offer Electricity to Homes as a Public Utility, 1st Audio Recording, 1st Record-Player, 1st Motion Picture—and those are just the highlights—and  that’s not mentioning the many developments of these basic inventions throughout his many years of experimentation. Now Edison, as you may imagine, was found to be difficult to laugh off—sure, one could grumble about ‘new-fangled’-this and high-falutin’-that—but at the same time, you can see where you’re going, indoors, in the dead of night; there was no open flame in every room any longer—and no need for candles and oil lamps. And one could listen to a symphony play Beethoven, right in their own parlor—it sounded a little more professional than the family’s traditional caterwaul. Edison was like Euclid that way—like him or not, he’s hard to argue with.

So I’m learning all this stuff in elementary school, and even then I noticed that any big advance in civilization involved someone being given a very hard time, ranging from laughed-out-of-town to burnt-at-the-stake. And I see it on TV—African-Americans in the southern states standing up to people that would do anything to keep those protestors relegated to second-class citizenship. And I thought to myself, hey, it’s Galileo and Louis Pasteur all over again—can’t they see they’re trying to hold back civilization’s natural impetus towards making us a better people, a fairer people, a kinder people? And after the race riots, the news showed the Viet Nam war—people killing and dying—I think that must be a bad scene in real life—I didn’t even like seeing it on TV.

Conservatives—are they the natural result of an evolutionary process that makes most of the herd dislike change, while only a few will go rogue and strike out after something different? Is that why they’re so politically powerful—because at heart most people don’t want change of any kind? Is that why rabble-rousers have to do so much rousing? Is that why every great person will eventually find themselves wondering if they’re crazy? And, if so, is that the corollary to all crazy people thinking they make perfect sense?

All good questions, but I digress. I had a point to make here—I’m almost certain of it. ‘sfunny how you get an idea about something big-ish like ‘social progress’ and no matter where you turn, you’re always getting caught up in details that don’t even make sense after a while? Well, this is one of those—sorry.

I really enjoyed that PBS part 1 of 2 Kennedy; American Experience—hope I remember to watch the end tomorrow night. O, and here’s a video of just me and another video of me playing some Bach:

Three Sweets to the Wind (2013Nov08)

Hello, you lucky people.

I finally have some postable Bach (not that it’s great–or even good) that is about as good as I get.

Please don’t feel bad if you don’t watch the whole thing–I get tired as I go along, so the mistakes and flubs become worse and more frequent as the video goes on….

I’m also very pleased with my Improv today–I didn’t really play the whole thing straight through as shown here–it was all in one recording, but there were three places where I played freestyle–and I didn’t have the patience for separate videos, so they’re all bunched into this one video. As always, I hope you enjoy it…

[Improv – Sweets to the Suites   (2013Nov08)]

[J.S. Bach – selections from three (3) French Suites   (2013Nov08)]

 

Backlog

I’ve just been catching up to myself–all recordings from the past eight days have now been processed:

 

Hope you enjoy….

Graphics Explosion

Okay, two new improvs and a look at some of the artwork contained in my video uploads:

GRAPHICS:

Back in the I-beginning, museum sites had no restrictions on downloading graphics of their paintings, sculpture, etc.

Back then, it took minutes for a hi-res graphic to download off a phone jack ISP, but I knew that someday the doors would all be locked–so I downloaded graphics like an obsession. Nowadays, security on graphic image files is pretty tight. It’s all ‘information’ now, and information is ‘owned’ now, too.  But I don’t commercialize my sites, so nobody looks too closely. Also, there are special programs like that of the Rejksmuseum in Netherlands, which allows a user to download graphics of their masterworks for non-commercial use. I still grab stuff off the Google-Image search, but I have to be more careful about snagging something off of those new ‘graphics by fee’ sites–one of them threatened me with legal action a few weeks ago!

Anyhow–here’s some of my latest ‘artwork’ in service to my YouTube channel uploads, and the original files I used for graphics backgrounds. You’ll notice that I over-lighten or over-darken these paintings to make my Text stand out and be legible.

20131019XD-Improv-GYup_01_Art-HorseLexington-1968-Good

20131019XD-Improv-GYup_02_200_Currier_&_Ives_Ready_For_The_Signal

20131019XD-Improv-GYup_03_No_Known_Restrictions_Horse_Racing,_Currier_&_Ives_Lithograph_1890

20131019XD-Improv-GYup_04_Trotting_Cracks_on_the_snow

20131019XD-Improv-GYup_05_english_hunt_fence

20131019XD-Improv-GYup_06_Hunter

20131019XD-Improv-GYup_(CreditsCARD)

20131019XD-Improv-GYup_(TitlesCARD)

20131019XD-Improv-HYup_(CreditsCARD)

20131019XD-Improv-HYup_(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XV_Robin(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XVIII_BarafostusDream(TitlesCARD)

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_02

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_02_Baschenis_Musical_Instruments

20131024XD-Improv-Factory(TitlesCARD)

20131024XD-Improv-PrototypeX(CreditsCARD)

20131024XD-Improv-PrototypeX(TitlesCARD)

20131026XD-Improv-AdAstra(CreditsCARD)

20131026XD-Improv-AdAstra(TitlesCARD)

20131026XD-Improv-Aspere(CreditsCARD)

20131026XD-Improv-Aspere(TitlesCARD)

20131026XD-Rijksmuseum_MyStud_Art-Nouveau_interieur_anoniem_1890-1910

20131026XD-Rijksmuseum_MyStud_Delftsche Slaolie-Jan_Toorop_1894

20131026XD-Rijksmuseum_MyStud_Het_stadhuis_op_de_Dam_in_Amsterdam-Gerrit_Adriaensz-Berckheyde_1672

20131026XD-Rijksmuseum_MyStud_Portret_van_een_vrouw_tussen_bloemen-Eva_Watson-Schütze_ca_1910

20131026XD-Rijksmuseum_MyStud_Seated Cupid-Etienne-Maurice_Falconet_1757

201320811XD-PreRaphWomen_GoldenTrio

20131026XD-Rijksmuseum_MyStud_Mantelpiece_w_relief_of_Paris_n_Oenone-Jan_Baptist_Xavery_1739

‘nocturnal’ 17th Century keyboard works

The Fitzwilliam Virginal Book was published in England in the 17th Century.

The virginal was a small clavier, so quiet it could only be heard in a small parlor in absolute silence. I guess it was of a piece with the way gentleladies were expected to behave in the old days. The music, which has much more life to it than I’ve been able to express herein, is nonetheless very sleep-friendly. One can only imagine what those people would have made of a heavy metal concert….

Robin, etc.

Robin, etc.

20131022XD-FitzWllmVrgnlBk_XVIII_BarafostusDream(TitlesCARD)

You Are Everything And Everything Is You

Siren-UofVTc036

I feel like I must have done something wrong. It just came to me that I’ve hardly ever cared about anything but music. I used to draw and paint to pass the time—I was good at it and I liked being able to impress people—but in the end, it wasn’t something I had to do. Same with reading and writing—a fantastic way to spend time—and it always took me away from the most unbearable environments—in the same house with an arguing family, being a brat on a bus full of brats, being stuck on a long line, and others. So I draw, read, and write here and there—but there’s only one thing I have to do—listen to, and play, music.

Ulysses-sirens-Draper

From that perspective, I can visualize my whole life, my jobs, my social interactions, my buying habits—as one big structure whose purpose is the perpetual availability of music to listen to, and a piano to practice and play on, and a stack of songbooks to sing from. Don’t get me wrong—many of my hardest efforts were in service to my Claire and my Jessy and my Spence. But anything I do for myself is unfailingly music-related. Nothing else has that feeling of obsession that I just can’t shake.

SirensBoutibonne

Unfortunately, I was not blessed with any talent for music—in general, I’m pretty awkward—and at piano, I’m markedly so. Any slight ability I display now, at the age of fifty-seven, is due to daily practice since the age of fifteen. And whatever ability that may be, it is easily out-shined by any toddler with musical talent and a few weeks of lessons. Do I have a great knowledge of music? Yes, indeed. And do I have a familiarity with music history that goes beyond that of nearly everyone? I do. But I’ll never be a musician, in the normal sense—I must eternally satisfy myself with my own puny capacity, and my improvisations (in which I attempt to make strengths of my weaknesses).

pygmalionNgalatea

Thus, there is a Zen aspect to my music-making—I must see my music as one thing and ‘real’ music as another. Otherwise, I’d have to give up the piano. It makes for a unique situation—there aren’t many pianists who practice every day, but never perform in public, never collaborate with other musicians, and are still waiting, forty years later, to get ‘good at it’. But that it exactly my case.

odsirens

The one thing that remains invisible to everyone else is the satisfaction I feel when I’m playing improvisationally—every day, I imagine that today’s improv is tremendous. Most days, I have a camcorder running and when I see the playback or burn a CD to listen to it, I hear something that is not at all tremendous—in fact, it stubbornly sounds like me playing badly—it’s mystifying.

persephone

I’m lucky, I guess—when I was young, I was very bright—I got used to being sure of the right answer, even when everyone else thought differently—it is a very good attitude—I wish I could share it with people who didn’t do well in school, who became averse to non-conformity and repelled by new data. I always feel sorry for people who disqualify themselves from learning, reading, listening to classical music—someday they’ll run schools so that the slower kids will have as much respect for their own viewpoint as they do for the teacher’s—but I won’t hold my breath.

herculesL

So much of my life is a hot-house flower—it can only survive because the conditions are perfect for it. I don’t have to spend the majority of my time at an eight-hour job every day, because of Disability. I have a very fine baby grand in a living room that really only rates an upright. I have the advantage of having been mentored by Matt Glaser in junior high, and Gil Freeman in high school. I was raised to sing Christmas carols and Boy Scout campfire songs, and to sing along with the AM radio pop tunes of my day. As the cherry on top, listening to records of both Keith Jarrett and George Winston taught me, at an early age, that playing the piano can be as much a cathartic experience as a performance.

Godessette

When I was a teenager, in the heat of a summer day, I could put LPs on the record-player—Glenn Gould playing the Well-Tempered Clavier, Books I and II, by Bach—and it would have nearly the same effect as an air conditioner—the cool, geometrical perfection of Gould’s Bach affected me in a physical way. Tchaikovsky’s 1812 Overture would make my blood hot and ready for battle. Silly little pop tunes could make me feel like my heart was breaking (and I loved having my heart broken) or that I was ‘king of the world’.

A-Sirens-Berlin

My sincerest sympathy I reserve for the people that see music as one thing—as rap, or as Bob Dylan, or as Theophilus Monk. Even confining oneself to a single genre is, to me, a tragic waste of potential experiences. I like medieval music, Bulgarian folk choirs, baroque recorder music, the Beatles, the Beach Boys, Enya, Michael Hedges, Carol King, Randy Newman, Leroy Anderson, John Williams (the composer and the guitar player who made the name famous first). I like the Archies, the Partridge Family, the Monkees, Air Supply, Bread, Kris Kristofferson, Andrew Lloyd Weber, Barbra Streisand, Harry Nilsson, Artie Shaw, Glenn Miller, John Philip Sousa, the Roach Sisters, both Guthrie’s (Woody and Arlo), Judy Collins, Burt Bacharach, and just about every other ‘bad’ musician overlooked by ‘serious musicians’.

CombWBattle

I’ve seen every musical movie ever, I watched Bernstein’s TV programs on music appreciation when I was little, I listened to every Nonesuch record in the library, back when Nonesuch produced LPs from ‘Bulgarian Folk Music’ to the ‘Koto Music of Japan’. Music is so much a part of my life that if it was excised from my history, my biography would read: “I am born. I get married. I have a family. I die.”

fantasy-fairy-sirens

And that being the case, it seems rather unfair that I should be without even a hint of musical talent—but nobody expects life to be fair, and for good reason. I think it has been good for my character, such as it is—overcoming failure every day is character-building, if nothing else. My dreams of being a great musician would probably lack their zest if I had the slightest idea of what being one is really like. Isn’t that strange? On the plus side (and I say this all the time) it’s good to have a life-long pursuit that can never be completed. I know that Yitzhak Perlman could say the same thing—but being the world’s greatest living violinist, he doesn’t have to focus on that particular fact the way I do.

Boreas_s1

Good News

Thursday, October 17, 2013                5:52 PM

Aaah! What a difference a day makes. The happy couple, off in Cancun, are not here anymore and, while we miss them, it sure is quiet around here with just Spencer and the Wonder Dog (and Bear and I). Politically, the fiscal disaster has been averted but perhaps more importantly, the Tea Partiers’ disastrous tactics have been roundly condemned in poll after poll. You won’t be able to tell from listening to them because one of their hallmarks is to talk ‘through’ realities and ‘preach’ their crazy gospel at the same time. Then there’s the great time I had recording videos yesterday (please feel free to give’em a listen on YouTube) and the fact that I thought I was out of tobacco, but then found a whole tin I’d forgotten about—so my ‘next day rush’ order for more will not be a marathon nic-fit. Add a hot cup of coffee and the day couldn’t be better.

The greatest new thing (as Rachel Maddow would say) is Peapod. It may not be available in your area, but they have me for a new customer. Peapod is a website that lets you shop in the Shop&Go online and have your groceries delivered the next day! I’ve just tried it out, I ordered cookies and cheese and cereal and lots of other stuff and the next day, Poof!, there it was at the door. This may seem silly to a lot of people, but I no longer have a car. And even if I had a car, it’s difficult for me to go and drive and shop and bag and lift and load and carry and put away.

Up until now I’ve been relying on Claire to do all the shopping—but now I can have anything I want, no muss, no fuss. It’s so luxurious I haven’t gone on Peapod a second time yet—I’m still enjoying the pleasure of having stuff delivered. It always bothered me—I mean, a lot of places deliver stuff—pizza, Chinese food, UPS, Amazon-dot-com—but nobody ever delivers what I want most—food and drinks, fresh produce, bread, and sundries.

And they used to. I remember our old house in Katonah had a boarded up rectangle in the kitchen wall—and the same on the outside wall of the house. Someone explained that that was once the ‘grocer’s pantry’. The delivery boy would deliver groceries to this over-sized cupboard without having to ring the bell or be let inside. Likewise, the cook could then unload the grocer’s pantry from inside the kitchen. Back before the Model T, delivery boys and messenger boys were everywhere—better for them to run back and forth than the customers.

But it’s been decades now since the internet first started casting about for a cost-effective technique for online grocery shopping and delivery—and Peapod is the first successful prototype of this concept. I’m very excited.

When I was a boy, one of my favorite books was “My Big Ball Of String”, written and illustrated by Marion Holland, 1958. A boy gets a cold and has to stay in bed. To satisfy his needs without getting out of bed, he begins to tie a string to the light switch, and then the doorknob, and pretty soon he’s got zip-lines and pulleys and his room looks like a giant spider web. I was enchanted by this vision of remote control.

Ever since the Internet arrived, I’ve been searching for new ways to do anything I want from inside my home. And Peapod is my newest ‘string’.

Yay!

p.s. check out my movie reviews at StreetArticles.com

Seven (7) Solid 60's Covers (click here)

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Peapod Comes (Click here)

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Tip The Driver (Click here)

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