“More Things In Heaven And Earth, Horatio…”   (2015Jul01)

Wednesday, July 01, 2015                                                12:00 AM

Today as I tried once again to make the perfect playlist I was eventually lost amongst a directory of albums in My Music—an eclectic music-lover’s senior-level over-profusion. In a lifetime of seeking out and collecting every possible type of music (though I don’t enjoy every type of music I’ve found) I’ve accrued a collection too diverse and frankly just too large to be encompassed in a single playlist. It haunts me.

It’s also an apt metaphor for my intellectual life. I’ve learned enough history that any part of it resonates with the echoes of similar eras, similar fears, similar crimes—even victories that have to be won again and again. Hook that onto my semi-awareness of current events and now, all the news reports send me into spirals of hope, dread, exultation, and despair—but mostly into extended musings on the tragedy of human nature.

My sheet music collection is stacked all about my piano—thousands of incomplete attempts to learn the music of a hundred or more composers. Then there are my piano recordings—I’ve uploaded over 1,700 videos to YouTube over the past several years. There’s no way I’m ever going to get that organized—or even get a vague sense of what the whole mess amounts to. This writing I’m doing right here—just the most recent addition to tens of thousands of pages of random, disorganized essays, poems, memoirs, anecdotes, and other involuntary effusions of erudition—although it could be described differently, depending on the reader.

I don’t see how anyone could enjoy it more than I do—it’s pretty egocentric, in the main. And even I don’t care for a lot of it. It’s not easy to write something worth reading—and I’m too OCD to simply delete my failed efforts. I’m an autobiographical hoarder—and the result is a mass of writing from which no one will ever extract a polished diamond, as Ezra Pound did with T. S. Eliot’s original manuscript for ‘The Waste Land’. My writings are destined to be merely a waste land—strictly lower-case.

If you’re not me, it’s kind of funny. All my life I’ve heard people talk about how you have to focus on one thing to ever get anywhere. I’ve ignored that bit of wisdom and here I am, at 59, running right into a brick wall of infinite beginnings and limitless unrealized efforts. It turns out there’s a reason why eclectic-minded people are usually a little screwy—being unfocused is a poor survival strategy—hell, it’s a poor strategy for anything—so you have to be a little crazy to go there.

I never get bored, at least. I do get confused however—but it’s a nice sort of confusion—the world is so big, so varied, so infinite—it’s like being stoned without being stoned. Not that I could speak to that.

Now here are two videos. One is very silly, because I just sing the word “Hey” over and over. The other one just has a silly title (a la Papa Hemingway) but the playing is serious, for me at least.

Sherryl’s Gardens (Just To Be Fair) (2015Jun26)

Okay, this time I’m giving credit where credit is due–Sherryls’ got the green thumb. Harlan, however, makes an appearance towards the end of the video (see yesterday’s blog about the Big Tree across the street).

The Cajon Box   (2015Jun25)

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Thursday, June 25, 2015                                          8:01 PM

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My friend Pete came by today. While I was waiting for him I took a few photos of my neighbor Bob’s big tree. My other neighbor Harlan happened to bicycle by and offered the loan of a Cajon—a sort of a box used as a drum—the different sides of the box make different drum sounds. It’s all the rage, or so I’m told. Pete made good use of it—but I’ll let you hear for yourself.

I’ve had a good week. Here are three more videos from earlier.

And here’s some more photos of the big tree.

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The Frustrated Musician   (2015Jun19)

Saturday, June 20, 2015                                           1:12 AM

I’ve been trying to hook up my electronic piano to my PC using a MIDI-to-USB connection, but my Music Studio software isn’t picking up any input from the MIDI port. Maybe I need a new Sound Card—I don’t know. All I know is after hours of wasted time, I had to settle for recording my e-piano’s own playback—so, apologies for the sound quality. In the video, you can see that I dance about as well as I play.

The title graphic is from the Rijksmuseum—it’s a page from a French marionette catalog of the 18th century, I think:

[Gallerie des Modes et Costumes Français, 1786, eee 312: La minaudiere Marinette…, Pierre Charles Baquoy, Esnauts & Rapilly, 1786 (Courtesy of the Rijksmuseum Website)]

The other improv is me trying to reproduce that first improv, but on my usual Mason Hamlin baby grand piano. Thus “Reiterations”….

Also, please check out my new poem:

“Shall We Dance?” by XperDunn

Time To Play   (2015Jun17)

FightingFolks(SMALLER)

[“Fighting Peasants”] “Vechtende boeren” by Adriaen Pietersz. van de Venne, 1600 – 1662

Wednesday, June 17, 2015                                               10:12 PM

Things are calm and peaceful—nothing’s wrong—and that’s excellent news. The past three days I’d been feeling pretty homely at the piano, but I couldn’t post it until now because I did a special background movie for the three improvs—”Winter (Amusement on the Ice)” by Adriaen Pietersz. van de Venne, (1625) and “A Musical Party” by  Adriaen Pietersz. van de Venne, (c. 1635 – c. 1645) –source graphics downloaded courtesy of : The Rijksmuseum Website and converted using “Photo to Movie 5.0” (software from LQ Graphics, Inc.).

 

 

 

MusicParty(SMALLER)

 

SkatingParty(SMALLER)

Sherryl and Harlan’s Garden   (2015Jun10)

Wednesday, June 10, 2015                                               2:53 PM

 

First off—to be honest, it’s Sherryl’s garden more than it is Harlan’s—I’m pretty sure he confines himself to lawn-mowing, landscaping, and home-repair—Sherryl does the gardening. I only used Harlan’s Gardens because it sounds so nice as a title. Ergo, my humble apologies to Sherryl—but, as she knows, ‘that’s Hollywood’.

I went next door yesterday right after a big June shower—I wanted to get the droplets on the flower petals (which I did) but I also got a lot of wash-out in the whiter flowers—and I hate to lose that delicate detail and end up with a white blotch in its place—but what are you gonna do, right? There’s still a riot of color in these photos—almost like a party in your eyeballs.

Also, there are just a few shots of our own flowers and vegetable boxes towards the end of the clip, so today’s video should not be considered an official ‘documentary’ of Sherryl’s garden—more like a celebration. One of the very last photos is interesting because it is lettuce from a previous year’s box garden that decided to start growing wild in the cracks of our driveway’s asphalt. Nothing stops Life, I guess.

Every one of the 162 photographs were retouched in Corel Photo-Shop, whether it needed it or not (they all needed it)—so I hope you all appreciate how much eye-strain and mouse-clicking I go through trying to make these videos interesting to watch. And here I run into a paradox—when I do these photo-journal, slide-showy videos of pretty pictures, I always make the insert frame of the ‘me performing’ video very small. I do this because I want the photos to be as visible as possible. But then when I’m making the ‘me performing’ video I add all kinds of video effects—because I figure it’s going to be too small to see. That’s the paradox—I like adding video effects gadgets so much that I’m happier when no one is going to see exactly how loopy the video turns out.

As always, however, I put the lion’s share of my efforts into the music itself—and today, as you will hear, I even got some help from a flock of birds. This improv is a little different from my usual, but I was trying something new—I hope you enjoy it.

On a whinier note (and yes I will have some fine cheese with that) my back is killing me, my shoulder is stiff from all the repetitive photoshop-mousing, a headache is just starting that tiny silver hammer-tapping, and I’m awful tired. I sure hope this video lives up to all the effort.

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Guilty Of Surviving (2015Jun07)

Sunday, June 07, 2015                                             11:53 PM

Guilty Of Surviving

I condemn you, berate you, accuse you!

No I don’t—I’m just stretching

My dramatic muscles—

Getting ready.

I’m gonna write my life-story

As a Broadway musical

Starring everyone I know—

With the nicest people

As villains.

I’ll post it on YouTube—

An instant classic with no class—

Featuring myself as the Ass.

We open on a cozy log cabin

In a Long Island maternity ward

Where I am born to only parents

With four other children.

I am a child of the sixties,

Seventies, eighties, nineties—

I’m immature—who’re we kidding?

Then I die

Ten years ago

But forget

To stop breathing.

I’m doing it wrong.

How can I write a life-story

After it’s over

When it’s still unfinished?

Instead of rhyming June and Moon

I’ll couple Jew with Moo.

If you had died ten years ago

You’d be confus-ed too.

The tunes I’ll pluck from

Out the ether

Somber songs, but none so

Sweether.

What to call this mess-terpiece, huh? Anyhow, I’ve been watching movies on TV. I saw “Larry Gaye—Renegade Male Flight Attendant” starring the guy from ‘Royal Pains’. I also saw “The Spongebob Movie: Sponge Out Of Water”. They are both extremely silly movies—which means two thumbs up in my book. “Larry Gaye” seems like someone who loved “Airplane!” decided to write an updated script for the new millennium—it’s always just a hair’s breadth from a real movie, but always veers into nonsense before it quite gets there.

“Sponge Out Of Water” tries real hard and Antonio Banderas is just as engaged in silliness as he was in “Puss in Boots”—but I’m afraid nothing in the sequel compares to the scene in the original Spongebob Squarepants movie where David Hasselhoff transforms into a jet-propelled hydroplane. Nothing could follow that.

After the movie, I was inspired by the calypso-style music played over the end-credits scroll. I played the following improv, but I never actually got any Caribbean rhythm into it. Still, it came out okay.

A Sunny Day (2015Jun05)

Friday, June 05, 2015                                               1:59 PM

 A Sunny Day   

Laughter light and lyrical rides on the birdsong air.

In amber sunshine bumblebees are bumbling here and there.

And pots of tea, and sandwiches of cucumber and salt,

Are laid upon the shining lawn—an emerald without fault.

You can’t hold back the tide of troubles—bother not to try—

Embrace instead the happiness of days when nothing’s wrong

Don’t worry at your worries—better far they far-flung fly

Life is short but summer days luxuriously long.

Laughter bright and beautiful—the butterfly takes wing.

In golden sunlight flowers bloom, and in the breezes swing.

Well, that’s all for today. Here’s videos I haven’t gotten around to sharing with you yet:

Four Squirrelly Videos   (2015May27)

Wednesday, May 27, 2015                                               8:25 PM

Oh–and just for laughs–I wrote a song lyric today, in honor of the season:

Spring Song

When the Spring is really greening

And the dog-flowers start to bloom

I can’t stand this crampy house.

I got to leave this musty room.

Outside, breezes float the pollen

And my nose begins to run

But it’s worth it for the freedom

And the warming of the sun.

Give me a Kleenex, baby

My nose in on the flow

Throw me a Kleenex, baby

I really got to blow.

I’d use my sleeve or spew it out but runny noses make me shout

Give me a Kleenex, baby

My nose in on the flow

Throw me a Kleenex, baby

I really got to blow.

 

Some days ago I threw a bag of birdseed onto the lawn outside the front door. It may not be for everyone, but I enjoy the racket every sunrise and sunset when the birds come to feed—and sing. The squirrels don’t sing much, but they do appreciate a bag of bird seed—boy, do they get chubby when I do this.

Bear suggested I place the video-camera outside the door for awhile and see what I got. That was a great idea—although I had to edit out a terrible amount of passing cars and idling or beeping trucks to get my final, idyllic background-footage. The remaining background sounds are mostly the breeze, the squirrels arguing, and the birds tweeting—I almost posted it all sans music.

Plus, I nearly didn’t post these two ‘cover songs’ videos—they’re terrible. But the squirrel is fun to watch. And the two ‘improvs’ videos are pretty good, for me—so I’m listing them first, in case any of you want to click on a video.

Enjoy, please.

Randy In The Afternoon   (2015May23)

Saturday, May 23, 2015                                           9:46 AM

My old friend, Randy Bell, dropped by yesterday for a brief recording session. It had been three years since his last ascension from his Georgia home to visit his old stomping grounds and we had a lot of catching up to do. Inevitably, we turned to music—Randy, a one-time fervent ‘Dead-head’, has a very different musical perspective from mine, and our collaborations, while challenging, produce some very interesting results (for me, anyway).

It was a confusing afternoon in one sense—I have a tendency to improvise on basic chord progressions, and those chord progressions, being in some sense basic building blocks in a variety of tunes, can go in and out of the ‘cover’ domain. For instance, my favorite a-minor chord progression led Randy to start singing along, revealing those chords to be the basis of a Chris Issak hit, “Blue Spanish Sky”. However, as I said, some chords progressions are basic components to many pieces, of both classical and popular music. So if I have to credit Chris Issak, then Chris Issak has to credit basic music theory, as do the Beatles and the Turtles, who use the same chord progression in hit songs of theirs, and Vivaldi, who uses it in his “Four Seasons”.

Having crossed that line, I showed Randy how I had derived my favorite G-Major chord progression from Bob Dylan’s “Like a Rolling Stone”. It was weird—after a good half hour of ‘improvisation’, we had recorded two ‘covers’!

But my favorite part was Randy teaching me to play a cover of a song written by someone we both knew—“Hard Road Blues”, written by Randy’s lifelong friend and one-time collaborator, Burrie Jenkins. Burrie is a Massachusetts composer and guitarist best known for his “Dharma of the Leaves” . I hope he doesn’t mind too much that Randy and I ‘roughed up’ his tune—it was hella fun to play…

Lunch with Greg   (2015May19)

Tuesday, May 19, 2015                                           10:47 PM

My eldest brother, Greg, treated me to lunch this afternoon at The Fish and Farmer Restaurant (which used to be The Box Tree) in Purdys. I had the clam chowder and the soft-shelled crabs with shrimp roulade—impeccably delicious! We had a great afternoon, catching up and shooting the shit. I haven’t been to a fancy restaurant in a dog’s age—I forgot how much fun it is.

Today’s improv was actually played prior to Greg’s arrival, but it needs a name, and that’s what happened today, so that’s that. Hope you like it…

 

Saturday With Stevie (2015May16)

Saturday, May 16, 2015                                           10:56 PM

Overcast, sprinkly day—our neighbor hurt his hand on a power tool, but Bear had just bought some first aid supplies—now his fingers look like gauzy sausages. If it ain’t one thing, it’s another. But my day went alright—up until now, when I’m finally posting the videos—the Stevie Wonder Covers video is like eighteen minutes long—and I’ve got a splitting headache from all this video editing. Not that my performance wouldn’t make Mr. Wonder cringe to hear it, but he’s on his level, and I’m down here on mine. With some more practice, I may be able to post better attempts in future videos—I love his music. I hope that, at least, can be heard.

 

The improv is silly—on purpose. I felt it was high time I did something silly and this improv qualifies.

 

The Artworks for both videos, by Caspar Luyken and Carel Allard, are, once again, provided (for non-commercial use only) by the wonderful Rejksmuseum (State Museum) in Amsterdam, Netherlands.

“Verzamelen van het manna in de woestijn”, Caspar Luyken, 1712

(“Gathering Manna in the Desert”)

Source Graphic courtesy of : The Rijksmuseum Website

 

“Sterrenkaart van de noordelijke sterrenhemel”, Carel Allard,

Johannes Covens en Cornelis Mortier, Anonymous, c. 1722 – c. 1750

(“Star-Chart of the Northern Hemisphere”)

Source Graphic courtesy of : The Rijksmuseum Website

The Peter Cianflone Session   (2015May15)

Friday, May 15, 2015                                               3:52 PM

It’s been a banner day for music here. First, I got off one decent improv this morning; then Pete arrived, and we knocked out two covers and two improvs—a decent day’s work for my YouTube channel and some decent music, if I do say so.

I’ve been practicing the “Brown-Eyed Girl” cover in anticipation of being accompanied by my professional drummer buddy—but the “My Guy” cover was just easy enough for me to get through without prep. The improvs made me very happy—if there’s a bit of paisley and patchouli in there, there’s a reason—‘nuf said. I’ve never been exactly ‘hard rock’, per se—which is why I appreciate the support from Pete, who definitely is. He always add so much energy, he almost makes me sound healthy!

Here we go…

I really needed today. Lately, I’ve been very down about the piano-playing—I’ve frustrated myself by working on difficult pieces and I’ve been even more frustrated by how hard it is to keep improvising without ‘going backwards’—if that makes any sense. But today was fun—and I’m truly pleased to share the results. Thanks, Pete!

Two Covers Twice and Then Some (2015May10)

Yesterday’s videos are weird — the cover video is of “Brown-Eyed Girl” by Van Morrison, and “Do It Again” by Brian Wilson and Mike Love –I play both songs in the morning and then again in the evening. I had hoped for one to be better than the other, but they are both imperfect in their own way. I’ve been sight-reading out of my weight-class lately, and these recent videos are evidence of that, but there it is, anyhow.

The improv is weird too, though I can’t say exactly why.

The graphic images used are downloaded from the new Metropolitan Museum of Art online collection:

“Prayer in the Mosque”

Artist: Jean-Léon Gérôme (French, Vésoul 1824–1904 Paris) – Date: 1871
Medium: Oil on canvas – Dimensions: 35 x 29 1/2 in. (88.9 x 74.9 cm)
Credit Line: Catharine Lorillard Wolfe Collection, Bequest of Catharine Lorillard Wolfe, 1887
Accession Number: 87.15.130 – On view in Gallery 804
[© 2000–2015 The Metropolitan Museum of Art. All rights reserved.]

“Pygmalion and Galatea”

Artist: Jean-Léon Gérôme (French, Vésoul 1824–1904 Paris) – Date: ca. 1890
Medium: Oil on canvas – Dimensions: 35 x 27 in. (88.9 x 68.6 cm)
Credit Line: Gift of Louis C. Raegner, 1927
Accession Number: 27.200 – Not on view
[© 2000–2015 The Metropolitan Museum of Art. All rights reserved.]

Journal Entries (May 4th & 5th, 2015)

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Monday, May 04, 2015                                            3:08 PM

Such A Beauty   (2015May04)

I know a woman who is a broth-witch. She takes a mess of crab-claw shells and boils them all day, filling the house with a seaside perfume—and by evening there’s a bowl of sinfully rich shrimp chowder like you’ve never imagined. Or take today, when what looked like the ejecta from my lawnmower catcher, and a handful of various spices, again filled the living room with a multi-layered scent, the subtlety of which hinted at the many ways such a potful could have gone wrong. But when the steam left the pressure cooker, there was a bowl of clear vegetable broth on the kitchen table. I lowered my nose to inhale the steam—paradise. And I’m a meat-broth kind of guy.

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I use to wonder what that woman saw in all those cooking shows—turned out it was a professional interest—she could kill on one of those shows, if she had a mind to.

It’s eighty-two degrees! I have photos from about a month ago—three feet of snow. It may not be climate change, but it’s sure-as-hell hot out there. The bleeding hearts are blooming—the neighbors’ cherry-blossom tree is a pink, humming mob of bumble-bees. The breeze is blowing. This beats snow any day.

It’s a beautiful day. What more can I say? May the fourth be with you.

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**-**-**

Tuesday, May 05, 2015                                            4:07 PM

In Which I Disappear Up My Own Egress   (2015Mar05)

When I type phrases using words like ‘erudite’ or ‘pomposity’ I risk sounding pompous and over-educated. When I employ what I think of as bitter satire I risk sounding childish and flippant. And certainly if I don’t write well, those points become confused with a host of unconnected difficulties. I’m one of those idiots who think that I should bring all my education and emotion to my writing—you’d think I’d never heard of style, much less manipulation.

I blame it on honesty—a concept with which I have much concern. Honesty doesn’t go well with good manners—another concern of mine. Thus I feel constrained in writing what I know—I don’t know anything that doesn’t involve everyone else. Plus fiction (my favorite thing) was, I thought, the ultimate goal—but good creative writing is a process of manipulating the reader and of imagining, well, fictions, i.e. lies. Good fiction writers are good storytellers—they have no compunction about telling tall tales—whereas I’m too hung up on the ethics of both the inventing of entertaining fictions and the recycling of my personal history as fodder for the writing factory.

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I write quite comfortably in this blog. You can’t see the sausage being made—I have to back up and correct every other word because of tremors and generally poor motor control, but the result doesn’t show that. I don’t know—maybe I’m afraid to let myself go as a creative writer—it reveals a great deal about a person. Where I have the courage of my convictions when it comes to sharing my thoughts, as I do in this blog, sharing my feelings is quite another story. A great deal of social posturing is concerned with maintaining a strong front, a poker face, the eye of the tiger, even. Exposing oneself in the writing of fiction feels, for a close reader like myself, very naked-ish—I don’t know if I have the balls.

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What is a story? A young person leaves home and enters the woods, as Joseph Campbell might begin. More modern stories might begin with the humdrum lives of two young people who have no idea they’re about to fall in love. Beyond the adventure/journey story and the love story, there’s the family drama, the saga, the epic, and the mythos—all in various flavors of time period, interlocutor, class, culture, setting, fantasy, psychology, etc. However, there’s been a whole lot of fiction written—and more being published every day. The best modern fiction either lasers in on one aspect of the human condition or else ‘goes big’, interlocking and intertwining several of the above scenarios.

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It’s all become quite huge in concept. Plot-outlined whiteboards end up looking like dense electronic blueprints. Big-money fiction writers use many hands—researchers, writing assistants, an editor or two—and, nowadays, in many cases, aspiring writers try to keep up through involvement in a writing class, a writing workshop, or a writing commune—either geographical or digital in location. While writing still consumes the lion’s share of a writer’s working hours, the idea of a writer working in solitude and sending the finished work off to a publisher is as antique as Jane Austen, who died in 1817. And she was pretty good, too. The rest of us need help—or so it would seem. I’m not sure I have the energy to find out.

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I can virtually hear all you he-men out there: “You don’t know if you have the balls? You don’t know if you have the energy? Quit with all the negative vibes and make it happen, sissy-boy.” Yeah, yeah—I get it. But everybody has a different context. In my context, exercise produces negative results—added effort only brings extreme fatigue. Ordinary human bodies recharge after exertion—mine, not so much, or so quick. Do you remember how, in the Bourne Identity, Matt Damon’s character wonders why he can’t remember his name, but he knows he can run so many miles before his hands start shaking too much to aim a gun? Well, think about that stat—fatigue doesn’t just reduce strength, it reduces nervous control and mental concentration as well.

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The virus is no longer preventing my liver from detoxifying my blood. I can exercise now without flooding my bloodstream with the toxins of exertion. Well, no, that’s wrong. Everyone gets a flood of toxins from exertion but the body, especially the liver, cleans that stuff all up. In my present case the central nervous system got its feelings hurt, back when things were really bad and now it goes off on a tantrum every time it gets a whiff of muscular activity, like talking a short walk—you’d think I’d asked it to scale K-2. So maybe the he-men are right—maybe if I powered through all the pain and tremors and spasms and restless leg for ten or twenty months I could get myself back in the fight. Trouble is, I’ve never been a big ‘self-control’ nut—I have trouble getting myself to drink coffee in the morning—even remembering to.

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Plus, I’ve spent many years with the perspective of one who ruthlessly simplifies life to the least possible motion, conserving a tiny bit of energy for the most essential activities. In my not-so-long-ago world, pushing myself was not only unproductive, it was dangerous. And there is an accretion of coping mechanisms encrusting my life-style: nicotine, caffeine, junk food—all of which would have to go if I attempted to torture myself back into being able to jog around the block. It would mean Olympic-level training just to get me in semi-average shape—at my age, with my stress levels, I could blow a gasket trying to get into the kind of shape I may never see again.

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As you can see, I am beset by doubts and weakness. I’d be embarrassed to admit it if I thought I was the only one—or if I thought it was possible to be a thinking person without such baggage.

Happy Cinco de Mayo! Someone on Facebook remarked, “I hope you know we don’t make as big a deal about it down here in Mexico.”—which makes a strange sort of sense—since Napoleon would have gone on to invade North America, if he hadn’t been stopped in Mexico.

The video is more to show you my garden pics than for the music—not my day, musically.

Faith In Outer Space   (2015May03)

Sunday, May 03, 2015                                                       11:40 AM

Freedom of religion is a wonderful thing. It makes it possible for me to abstain from religion without being burnt at the stake or beheaded. That’s a good thing. It makes things better all around, for women, for gays, for children—the judgmental authoritarianism that allows the religious to marginalize women, condemn gays, and abuse children is prevented from becoming part of our legal system. And where such dogma is already infused into society, we have legal recourse to remedy the situation, as with the present argument in the Supreme Court over same-sex marriage.

Those with the notion that religious freedom should allow them to treat others differently, such as denying service to gays, do not understand the difference between religion and law. Belief is a mental phenomenon, not a physical one—where belief informs action, however, things get stickier. You can choose to live your own life as a believer, but imposing those beliefs on others is not ‘freedom’, it is its opposite—ingenuous piety notwithstanding.

Having gone from a civilization wherein religion was a given, to a civilization where religion is optional, we have achieved personal freedom. Those of us entirely without religion are tempted to view this as progress, with the inherent suggestion that religion is obsolete and will, one day, fade away. But believers see religious freedom as an accommodation to the variety of religions rather than as a step away from religion in general.

There’s a difference. We can be proud that human beings are the ‘only race’, the reason that God created the universe—or we can have the pride of a young race that is joining the galactic community by reaching the stars. If the former, we are encouraged to stay in our cradle, this fragile planet with limited resources and time. If the later, we know that we must leave this planet, colonize the solar system and perhaps beyond—or just wait to die out when the planet does. We can condescend to the stay-at-homes by justifying space exploration through its useful by-products, the science and the tech—but the real reason is just that we have to leave.

I can imagine some protest at that statement but be assured that I’m speaking in general terms. We don’t all have to leave—you, personally, don’t have to leave—I’m not expecting to get the opportunity to leave Earth within my lifetime. But eventually some of us have gotta go. Enough people have to populate the solar system to ensure the survival of the race beyond the Earth’s expiration date, whenever that may be.

The end of the Earth may not be coming soon, but it’s coming. We know that now—we know that Earth was once uninhabitable, that it will be again—we know that Earth floats amongst a sea of extinction-level-sized asteroids and meteors, any one of which could ‘hit the jackpot’ at any time. And beyond all the cosmological constraints, we also have to face the fact that our use of planetary resources may reach a tipping point long before any of these lesser probabilities manifest themselves.

We need to start getting our raw materials from further away, someplace where we’re not trying to breathe and drink water and grow food. And the human race could also use a little elbow room—one planet for seven billion people requires a lot of natural resources and a lot of real estate. Our solar system is begging to be colonized and developed. And our planet is begging for a break.

Does religion get in the way of this? Well, religion is authoritarian—it wants to be in charge. And those in charge are uncomfortable with change. Space exploration certainly qualifies as change. You do the math.

However, some changes might benefit us. Earth’s population may not benefit directly—even with the ability to emigrate to space, population growth on the surface wouldn’t change significantly. Overpopulation will eventually bleed this planet dry. But at the same time, a colonized solar system would see population growth as a good thing—and restless young people on Earth would have a frontier to turn to. If we’re going to overpopulate ourselves to death, it seems a small thing to allow some of that excess population to take a stab at perpetuating the species outside of our gravity-well. Think of it as back-up.

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“The Explosion of the Spanish Flagship during the Battle of Gibraltar”  by Cornelis Claesz. van Wieringen, c. 1621    (Courtesy of the Rijksmuseum website)

More Gershwin   (2015Apr30)

Thursday, April 30, 2015                                        7:43 PM

I’m still feeling off-balance today. When I’m happy the beautiful things in life make me want to sing but when I’m sad the beautiful things in life make me want to cry. There’s a little of both in today’s piano videos.

 

Gershwin is Sweeping the Country   (2015Apr28)

Tuesday, April 28, 2015                                          2:35 PM

I’ve just learned that Gilbert Freeman has been injured at the Grand Canyon. He is presently in the Trauma Hospital in Flagstaff, AZ—I wish him a speedy and complete recovery. Gil is a retired music teacher responsible for hundreds, if not thousands, of music-lovers, many professional musicians, and even a few virtuosi. We all have fond memories of our days in his choir and in his theatrical productions. I do hope he’ll be okay.

—**—

My George Gershwin songbook has always been difficult for me to play. Those Tin-Pan Alley harmonies make absolutely no sense, if like me you’re used to Bach, Mozart, or even Contemporary Pop—until I play them—then they make perfect sense. Gershwin’s music reminds me of Mozart in the way that he seems to find the perfect sound, right on the knife-edge of dissonance, or even just plain noise, but in its narrow escape from that, sublime in its perfect fitness.

This makes it all the more frustrating that, as sheet music, it is an obstacle course of illogical and unexpected twists and turns. I know, if I could only play it properly, how gorgeous it would sound, as I flub and fluff my improper way through it. And it’s fairly gymnastic playing, too, by my standards—physically on the edge of possibility, for me. So I was surprised yesterday when everything seemed to conform fairly easily to my hands—so ‘doable’ as to make singing along a possibility.

Today, I resolved to do a Gershwin Covers recital—I figured if yesterday’s sudden windfall ran true, I’d better take advantage while the advantage-taking was good. I decided it would be called “Gershwin is Sweeping the Country”, since “Love Is Sweeping The Country” is one of his peppiest, happiest tunes and I really like it.

I played four or five songs with semi-decent results (they comprise the video below) but when I got to “Love Is Sweeping The Country” my luck and/or energy had run out. There’s this damnable chromatic sweeping up and down in the course of the song—beautiful stuff, but murder on my brain and eyesight—so that recording went into the trash-pile, and all that’s left is the play-on-words of my title. I’ll work on it for later. It’s a really cool song.

Prior to playing, just to get the blood flowing, I took a walk. I meant to go all the way around the block, but when our driveway appeared, midway, I took the easy way out. Hence the title of today’s little piano improv “Short Walk”. I brought my camera along on the walk, though, so short or not, I got some striking photos of the local color. I hope they make a more picturesque background video than my ugly mug—once again, I’m relegating the video of me to the corners of the screen.

There are plenty more in my Gershwin songbook, but I didn’t want to press my luck today. I look forward to a second or third Gershwin Covers video, sometime soon.

 

 

 

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Four for Sunday (2015Apr26)

 

 

 

 

Oh, and here’s one from yesterday…

Yester- You, Too!   (2015Apr21)

Tuesday, April 21, 2015                                          6:56 PM

It’s been kind of a scatter-shot day. Didn’t rain much, but the sun didn’t shine much either. We’re all up in the air, living off take-out, waiting for the clock to run out on the big game. Shouldn’t be long now.

The new movies came out on VOD—or, I think they did—I didn’t see anything that really pleased me. Lotta stuff coming out recently in genres I don’t go for—horror, suspense—anything that raises my stress level, basically. I’ll go for a straight Action flick, but anything where the director’s goal is to manipulate the audience’s fear, or to go for shock-value—like those scenes where a truck comes out of nowhere and hits the car the people are in—I can’t take a rollercoaster ride anymore, not even a vicarious one. Shocking scenes crop up often enough in other movies these days—I don’t care for a movie that focuses on just that aspect of cinema.

It makes sense—I can’t expect Hollywood to crank out a new sci-fi or superhero film every day. Besides, if they dumped eight of them onto the VOD menu in one day, my head would explode and I wouldn’t enjoy the movies because of all the hurry. So, ‘every once in a while’ will have to do.

Here’s a couple of videos and some pictures from the yard:

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Kern In Spring   (2015Apr18)

Saturday, April 18, 2015                                5:55 PM

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Last evening was the fourth annual Students Concert that Sherryl Marshall hosts for her voice students—and she is kind enough to include me every year. This year I sang “The Way You Look Tonight” and got through it without any serious harm done. I didn’t have my trusty videocorder, so I’ve reproduced the effort today. Also, I threw in “Can’t Help Singing” because, unlike Sherryl’s stage last night, no one was watching this time. Both songs are by Jerome Kern.

“The Way You Look Tonight” has lyrics by Dorothy Fields. It won the Academy Award for Best Original Song in 1936. The lyrics for “Can’t Help Singing” are by E. Y. “Yip” Harburg. Kern and ‘Yip’ earned an Academy Award for Best Original Song for it in 1945. At the 1946 Academy Awards, Jerome Kern and Oscar Hammerstein II won for Best Original Song for “All Through the Day”—the award was posthumous in Kern’s case as he had died on November 11th, 1945.

I’m not like ‘Baby’ from “Dirty Dancing”—I went ahead and stuck myself in the corner—of today’s two videos. I wanted to show off my photos of all the life springing up out of the ground ‘round here. I used them ‘straight’ in the Kern-Covers video, but I went for a more psychedelic version on my longer-than-usual Improv to Spring. Hope you like both of today’s videos—especially as I don’t think I get any better than this.

 

Three New Recordings (2015Apr14)

High School Daze   (2015Apr02)

Thursday, April 02, 2015                                          11:33 PM

This video of six song covers is seventeen minutes long—but it isn’t what I really wanted. I thought I’d dig up any John Denver songs I had the sheet music for, and do a recital of just that. But I couldn’t find “Rocky Mountain High” or “Annie’s Song”, his biggest hits—all I could find today was “Follow Me” (1970), “My Sweet Lady” (1971), and “Leaving On A Jet Plane” (1966).

Like many of my favorites from my high school years, “Follow Me” is one of those songs that has a great rhythm and spirit, but vaguely misogynist lyrics. In this one he actually sings, “..make it part of you to be a part of me..” (as if “Follow me, up and down…” weren’t enough).

It always freaked me out a little that song-writers of such a politically active and ‘enlightened’ era would shill for the barefoot-and-pregnant mind-set in lyrics to their otherwise-modern rock tunes. John Denver, Paul Anka, and Bobby Vinton were some of the worst offenders in this arena, but it was fairly widespread through the sixties and seventies. By the eighties I guess feminists were calling people out on some of this stuff to the point where other people started to hear what I’d been hearing, and things got a bit more ‘aware’ from that point on.

The only real trouble is, I like “Follow Me”—I enjoy singing it, even though I kind of gag on the lyrics. “My Sweet Lady” is likewise a bit much on the saccharine-macho side, but I still enjoy his recording of it. It is included here, however, only because I was desperate for John Denver songs—it’s not really in my wheelhouse, as it were. And “Leaving On A Jet Plane” always feels weird to sing because it was the song all the girls on the school-bus sang on the road during class outings—the most popular version was released by Peter, Paul & Mary, and Mary Travers’ vocals predominate on their recording, so it became a ‘girl’s’ song.

The other, non-John Denver songs are of the same ilk—popular music of the sixties and early seventies that managed to not be rock-and-roll—Tom Paxton, (“The Last Thing On My Mind” ) like Denver, was more of a folk singer/songwriter. The Bacharach/David team (“Look Of Love”) and David Webb (“Wichita Lineman”) were both of the sophisticated, atmospheric school—almost Jazz, but with enough Pop to hit the charts.

I regret that these covers aren’t my best work—but, as always, they’re the best I can do. However, I was very pleased with the piano improvisation “Spring Earth”. I feel like I got a real “Le Sacre du printemps”-vibe going on this one, in my own goofy way.

 

And I end with a few more photos of the spring bulbs popping up out of our yard….

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Day of Fools! (2015Apr01)

There’s no particular prank to this video, other than the fool playing in it:

 

I went outside and photographed the spring flowers coming out:

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Happy April Fool’s Day, everybody.

Another Fine Day   (2015Mar25)

Wednesday, March 25, 2015                                              11:29 PM

Here are three more Cole Porter piano covers—true piano covers, this time. I tend to sound like a dog howling when you get these long-held notes. Besides, the playing is tricky enough on its own. I haven’t had a chance to listen to the improv(s) yet—they are two short quips, one from this morning, one from this evening. That’s true of the Porter, too—“Begin the Beguine” was played earlier, the other two this evening. Hope you like’em. And I hope you had a fine day, as well.

 

A Quiet Day   (2015Mar24)

Tuesday, March 24, 2015                                          10:38 PM

My apologies to all you who didn’t share this experience today—but I had a nice, quiet day. Turner Classic Movies showed Cole Porter musicals all day—I caught most of “Silk Stockings” (Fred Astaire, Cyd Charisse) and the first half of “DuBarry Was A Lady” (Red Skelton, Lucille Ball). By that time, I felt an itch to do a little Porter of my own. I’d also felt a yen for this particular Jerome Kern song last night. Probably came into my head because it has ‘Spring’ in the lyric. Anyway, I had that all queued up, so you get one by Kern, two by Porter.

These scores are tough sledding—very thick chords, some of them. I’d give anything to just breeze them along in a nice tempo, but I work with the tools I have—my apologies. The improv is short today, but I thought it was kind of cute. You decide.

 

 

Again, source material credit for my graphics has to be given. Source graphics courtesy of : The Rijksmuseum Website. The Rijksmuseum Website, by the way, is a great site for at-home museum visiting—and if you’re digitally crafty, you can download anything you see, for free, and use it in a project of your own. It’s Gr-r-reat!  https://www.rijksmuseum.nl/en

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Table cover, Christiaen Gillisz. van Couwenberg, c. 1650 – c. 1675

 

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Gezicht op Derwent Water, in de richting van Borrowdale (Cumberland), Thomas Hearne, 1754 – 1817

 

A Beautiful Melody (2015Mar19)

In the first recording, I do my best with ‘Melody in F’ arranged for piano, [from “Souvenir d’un lieu cher” (Memory of a Cherished Place) for violin and piano, Op. 42 (Meditation, Scherzo and Melody) (1878)] by Pyotr Ilyich Tchaikovsky (1840–1893). The original piece is just beautiful. I’ll provide the YouTube link here, if you’d like to hear Janine Jansen perform an Encore broadcast on April 19th, 2013, with Paavo Järvi conducting the Frankfurt Radio Symphony Orchestra in the Alte Oper Frankfurt. (You’d better listen to mine first–I can’t follow a real virtuoso, no matter what instrument they play!)
The second recording, the improvisation, is one where I think it’s pretty obvious that I’ve just played the Tchaikovsky piece, but maybe that’s just in my head. It’s hard to tell–you can steal a lot from another composer without it showing, unless you’re taking the actual melody….

 

 

“The Lines Are Cut”   (2015Mar18)

Wednesday, March 18, 2015                                    2:30 PM

The Lines Are Cut

Reason is a shifty shibboleth.

We read a sharing in each other’s eyes,

But groups of thoughts shared

Is hardly all thoughts agreed upon

And taste or preference also split

The join of we who would cohere.

Distraction, syntax, stumblings all

Trouble all the hawsers thrown

To draw our hulls together.

Eternally we drift, unitary, unconnected.

We long for nightfall, when Nature herself

Will cause our ships to finally,

Briefly bump together.

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I was reading “Alan Turing: Enigma”, the book which “The Imitation Game” is based upon. I’d reached the part where Turing was returning from one of his trips to America in his wartime role as liaison between British and American cryptanalysts. The author describes how the ship carried thousands of servicemen, hundreds of officers—and one civilian. After years of working to uncover the hidden German U-boat wolf-packs that harried the Allied convoys, Turing was in the uncomfortable position of being one of that throng of helpless passengers he had tried to rescue. A boat just like the one he was on had been sunk just two weeks earlier. The Germans had made so many U-boats that even after the Enigma was decoded and their locations were known (with greater accuracy than known by the Nazi high command) their sheer weight of numbers continued the Atlantic sinkings for over a year.

Alan Turing’s difficulties made me ashamed of my petty post from yesterday, where I had boasted of my learning and experience. I should know better than anyone that reason often overturns such peripheral details as learning and experience—I should have been railing against the small-minded arguments of those who don’t even make a decent effort to ‘pierce the veil’. That’s what my ‘rantings’ posts usually do, but I thought focusing on why I had a good grasp of things would be a more positive approach. It didn’t work out that way—if someone else had written yesterday’s post, I would disagree with almost all of it.

No one makes a big deal out of declaring themselves to be an idiot. But in a weird symmetry, people of intelligence and education can’t claim that they’re smart, either—at least, not without making themselves look stupid. You can’t brag about being smart any more than you can brag about being tall—sure, tall people and smart people might have a clearer view than most people, but that’s just the luck of the draw. And this led me to contemplate the futility of communication, both public and one-on-one. It’s too bad we use the same system to express our feelings and share our information—they get in each other’s way.

But, anyway, the result of all this moping was a poem, or rather a first line and an idea for a poem came into my head. I’ve never learned to write and think as clearly at a keyboard-and-screen as when I’m writing with pen-and-paper—I only type my poems into my “digital storage unit” afterward. The finished product is displayed above.

On my way to the workstation, I passed the piano—so, I stopped and recorded a piano improvisation along the way. I’ve named it after the poem—they certainly share a frame-of-mind, so why not?

An Improv and Two Piano Covers   (2015Mar15)

Sunday, March 15, 2015                                  5:33 PM

 

I’m getting lazy about my videos. Today, I played two little piano covers but they only last for a coupla minutes, so I just left them tacked on to the improv instead of making a separate movie—so sue me. I’m still going to add “cover” to my YouTube tags, which is their criterion for posting something that’s copyrighted. I’m just excluding the song titles from the video’s Title and putting them in the Description instead. No big deal. I always include song titles in my cover-video Tags, and that’s how people find stuff nowadays anyhow.

Immediately following my improvisation there are two piano covers of classic popular songs,“I Don’t Care if the Sun Don’t Shine” and “In a Shanty in Old Shanty Town“, which I am reading from arrangements in the “Lawrence Welk Favorites” song book. Though hits in their day, they are rather obscure in the present-day popular memory, so I’m including these brief historical references from Wikipedia.

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“I Don’t Care if the Sun Don’t Shine”  [From Wikipedia, the free encyclopedia]:  a popular song, written by Mack David.

The most popular version was done by Patti Page in 1950. The Page recording was issued by Mercury Records as catalog number 5396, and first reached the Billboard chart on May 20, 1950, lasting 9 weeks and peaking at #8. It was her first Top 10 hit. The song was also one of the first recordings by Elvis Presley.

A Dean Martin version of the song was featured in the 1953 film “Scared Stiff” starring Martin and Jerry Lewis. The Patti Page recording is featured in the movie “The Adventures of Priscilla, Queen of the Desert”. Actor Guy Pearce also briefly sings excerpts of this song in the film, as does Terence Stamp. The first Spanish-language version was recorded by Marco Tulio Sanchez, the precursor of rockabilly in his country Colombia during the 1980s. It was originally intended for Disney’s Cinderella, but not used.

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“In a Shanty in Old Shanty Town”  [From Wikipedia, the free encyclopedia]:  a popular song written by Ira Schuster and Jack Little with lyrics by Joe Young in 1932.

Ted Lewis and His Band performed it in the film “The Crooner” in 1932. His version was released as a single and it went to #1, where it remained for 10 weeks.

Johnny Long and His Orchestra had a million seller of the song in 1946–a slight revision of their 1940 version. The ’46 version reached #13. Jerry Lee Lewis recorded a version in the winter of 1958/1959. Somethin’ Smith and the Redheads re-charted the song in 1956 where it reached #27.

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The graphics are from our garden last May—which is only two months away—something to look forward to.

Calm Seas   (2015Mar12)

Friday, March 13, 2015                                    1:56 AM

It’s been a quiet day here. I took some pictures of the melting snow and the bare ground starting to show.

Bach felt that D Major was the most joyous key signature and that can be heard in this keyboard partita. I had a recording of this on vinyl, performed by Paul Badura-Skoda on piano. YouTube has an excellent recording of him playing this Prelude on a harpsichord: https://www.youtube.com/watch?v=LNJgKFJgWiQ&list=PL33FD3673F789B78A

My rendition isn’t quite up to Paul’s standards, but I do my best with the fingers I have. I plan to record the other dances of the partita in the near future—they too have a bouncy delight to them—except for the Sarabande, which is one of the sweetest slow pieces in baroque music. I shall have to feel extra-on-my-game when I attempt that one.

The improv came out very novelette-ish and made me think of waves and wind and open water, thus the title and the ‘cover art’ (pictures, once again, courtesy of the Rijksmuseum web-site). Enjoy—

 

 

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).

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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.

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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):

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20150301XD-OrigDrawing_GOPFairy(2)

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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)

Home-Style Music   (2015Feb24)

Tuesday, February 24, 2015                                      10:24 PM

These are two familiar pieces of Tchaikovsky for those who listen to my videos, but here is today’s run at them, for your listening pleasure. I’ve just finished watching “Whiplash”, a wonderful film about a horrible music teacher and the demands placed on exceptional musicians, and while the film gave me a great deal of food for thought it certainly left me in no doubt as to my unfitness to join the ranks of professional musicians—I just love Tchaikovsky, that’s all.

Today’s improv came in three separate themes, so I have marked them in the video—just trying to add flavor. I’m looking forward to listening to them—I hope they came out good…

O, and there’s one from yesterday that’s kinda lively:

 

 

 

A Little Bach, plus (2015Feb22)

Here are two brief fugues from the J.S. Bach Book of Little Preludes and Fugues, and two briefer improvisations. Comments are welcomed.

 

 

 

 

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.

 

 

 

 

 

Transports Of Joy   (2015Feb18)

Wednesday, February 18, 2015                                11:56 PM

Yes, that’s what I’m promising for your Lunar New Year with this collection of music—transports of joy. Either that, or something slightly less felicitous. You decide. The Tchaikovsky is choppy—the old sight-reading problem—and of the two improvs, I’d say ‘Whooping and Hollering’ is the inferior effort but ‘Carrying On’ is pretty darn good, if I do say so myself. There are also two more-pastoral-type improvs from the sixteenth—they’re pretty standard ‘me’ stuff.

 

 

 

 

 

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.

 

 

 

 

 

Back to Bach   (2015Feb11)

Thursday, February 12, 2015                                    12:02 AM

Bach’s English Suites are a favorite of mine. This is not the first time I’ve posted a recording of the A Minor Suite, though it is rare that I record the full suite. This recording was done over two days and it’s a bit better than any of my previous attempts, so I’m posting it. Someday, I’ll have to review my YouTube channel videos and delete all the older versions of redundant posts—assuming that the newer ones are always better—I’ll have to do some comparison listening to be sure. So, maybe someday is pretty far off.

It’s not that I don’t listen to my own recordings—I hear them plenty when I’m editing them and I also burn them to CDs and listen to them away from the computer. However, it’s an educational process for me—I hear the mistakes more clearly than the music and I can’t help but make mental notes on how to play it better next time. Once I’ve given them a good listen, they usually just make me itch to jump up, go to the piano, and play it again, better. But that’s just the sheet music for other peoples’ stuff.

My improvisations are a different story—for some reason, I really like my own music. Not every day, and not all day, but I like it and I listen to myself quite often, especially when reading—or to lull me to sleep at night. I like to listen to some real music—all kinds—and listen to some ‘me’. My music isn’t better than real music, but it isn’t exactly worse—it’s more like ‘complimentary’ to real music—it gives me a break from the passion and precision and perfection of say Glenn Gould, or Ziggy Stardust, or Matt Glaser, or Enya. It’s filler, for when real music is too much but silence is too little. To me, anyway.

So, here’s a long-ass Bach piece that came off rather well, and the improvs from each day (I highly recommend Tap-Dance–it came out pretty good):

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…

 

 

Lucky Me (2015Feb06)

Friday, February 06, 2015                                6:25 PM

I just received a belated birthday gift from my mom—one of those tea infusers that look like miniature medieval weaponry, a tea ball. (She also sent me, among other gifts, what Bear likes to call ‘Clown Pants’ which are red plaid flannel pants with an elastic waist and a string-tye tightener—but we won’t go into my propensity for garish apparel.)

I shoulda tooka picture—but instead, I have used Bear’s latest quilting project as my front- and end-piece illustrations. She does wonders with a needle and thread—I love her work.

Yesterday and today I tried to play two dances from “The Fitzwilliam Virginal Book – Vol. I”:

“XIII. Pavana.” by John Bull, and

“XIV.  Alman.” by Anon.

Yesterday’s recording was terrible, so I tried again today and got an acceptable rendering from the Fitzwilliam—still, pretty-decent Piano Improvs from both days’ recordings, so I have two of those today—lucky me.

But first, I play two of my favorite pieces from this ancient music book. You can hear birds singing outside during the performance (our local birds come for the bird-seed but they stay for the concert—and they like to chime in). It reminds of those pieces in which composers like Handel or Couperin would try to score music to sound like birds—I find it’s much easier to simply invite them to sing along…

 

 

 

The Great Man (2015Feb05)

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Thursday, February 05, 2015                          9:36 AM

President Obama has endured a great struggle during his time in office. Over the last six years, I have often been disturbed by the bitter acrimony and the seething resentment of his many detractors. But now I see that these attacks have ultimately succeeded in only one thing—serving as a background against which his extraordinary compassion and leadership stands out in stark contrast. Ordinarily, we are taught in school to allocate greatness to this person or that. With our president, we have had the opportunity to witness greatness and recognize it for ourselves.

His humor, his warmth, his coolheaded-ness under fire—I was just watching a YouTube video entitled “Obama’s Coolest Moments” and I was overwhelmed by the preponderance of examples where crazed, reactionary, mindless criticism was belied by his calm, cool, and sensible responses to every difficulty that arises. Like all great Americans, he simply wants America to live up to its promise, to realize its wildest dreams of freedom and justice. He does not oppose his enemies, only what they stand for. During a period when the majority of his defamers have made personal attacks, his responses have always been on message—never descending into the personal squabbling so popular in Washington.

With many politicians, the bloom will eventually fade from the rose—but I find myself admiring President Obama more with every passing year. The President who sings like Al Green, the baby-whisperer President, the President who kicks ass at a game of P-I-G (or P-O-T-U-S, as he plays it)—his personal quirks are endearing—although some try to characterize it as a cult of personality. To me, that aspect of him is far less sinister. He is simply an admirable person, a man whom power (for once) failed to turn into an asshole.

But while I enjoy his humor and grace, I focus more on his leadership. He gets on TV whenever there’s a problem—and he’s usually saying, “Hey, there’s a problem, but we are not going to start immediately bombing people—we’re going to find out what’s really going on, first.” I like that in a ‘Leader of the Free World’—I really do. And it’s such a nice change from the last guy. When it comes to sticky domestic issues, like the unpopular LGBT-rights movement, he plumps for Love over Hate, calm over panic, and humanity over business. It’s really quite strange, rooting for an ‘underdog’ who’s also the President, hoping against hope that the most powerful man in the world won’t be stymied at every turn by the forces of evil.

I’ve learned a lot from Obama, too. The last election was a real eye-opener—I learned that politicians, while they may be problematical, are not the primary problem. We are. Worse than the number of people who didn’t vote Democrat was the number of people who just didn’t vote, period. Obama did some great things—but imagine what he could have done with an engaged constituency.

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O–and, while I’m posting stuff:

Almost Sixty (2015Feb04)

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

 

 

 

I’m All About Soil Moisture (2015Jan31)

Last day of January–the Winter won’t last forever, after all….

Well, they finally launched the Soil Moisture Active Passive (SMAP) observatory today.
In honor of which, I have two improvs and a song of Mendelssohn…

20150130XD-Twofer (5)

20150130XD-Twofer (1)

20150131XD-Twofer (2)

20150131XD-Twofer (4)

20150131XD-Twofer (6)

20150131XD-Twofer (7)

Improv – Snow Blind   (2015Jan29)

Thursday, January 29, 2015                                      3:09 PM

‘Snow-blind’ is probably the wrong term–today I’m more struck by the brilliance of our indoor sunlight, doubled by its reflection off of all the snow outside.

And that happens in Summer, as well–I’m reminded of this fragment from the first of T. S. Eliot’s “Four Quartets”, “Burnt Norton”:

 

“So we moved, and they, in a formal pattern,

Along the empty alley, into the box circle,

To look down into the drained pool.

Dry the pool, dry concrete, brown edged,

And the pool was filled with water out of sunlight,

And the lotos rose, quietly, quietly,

The surface glittered out of heart of light,

And they were behind us, reflected in the pool.

Then a cloud passed, and the pool was empty.”

 

Or, if we consider sunlight as reality, Eliot also wrote: “human kind / Cannot bear very much reality”….

 

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…

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20150127XD-Improv-BlizzardFail (4)

 

20150127XD-Improv-BlizzardFail (12)

 

20150127XD-Improv-BlizzardFail (14)

 

20150127XD-Improv-BlizzardFail (16)

 

20150127XD-Improv-BlizzardFail (18)

 

20150127XD-Improv-BlizzardFail (20)

The Very Latest (2015Jan23)

I’m not getting any writing done, but I’m enjoying the absence of the ‘push’ that makes me write.

In the meantime,  I had a pretty good day at the old eighty-eight.

First, I made fewer-than-usual mistakes whiling playing these two pieces by our old pal, Felix:

 

Then, I have a real improv, in which I play like no one’s watching. (That’s why I always turn the camera on–so that I forget it’s there sometimes.):

 

And here’s a more ‘formal’ kind of thing that I get when I’m not playing alone:

 

Hope you like’em!

 

Aliens In Winter (2015Jan19)

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-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.

Two Improvs, A Thought, And A Poem (2015Jan06)

 

 

Monday, January 05, 2015                     11:58 AM

Here’s a comment I wrote for an atheist’s video-post:

“Well, guy, I’m with you—but, as the many comments indicate, being rational goes against human nature. I find it amusing that the type of comment-rebuttal depends on the user’s level of zealotry. The almost-rational always take you to task for word-definitions, chains of sequence, and attitude of approach. The less rational take you on for misinterpreting scripture or failing to credit the creator of our ‘perfectly designed’ universe. The full-on crazies try to talk down to you as if you were a child, or an insane person. It’s pretty funny—someone should write a play about it…”

Sometimes, when I want to say something multi-layered on Facebook, I write it in Notepad and then paste it into the comment box—it’s easier to correct and re-word when I’m not typing straight into the Facebook text-box. However, Notepad doesn’t ‘translate’ my double-dashes into big dashes, or flag my mis-spells and poor grammar, like Word would do.

Then, because I hate to write down any thought without saving it, I cut and paste it into my Word running-journal-document—where everything gets corrected—but after I’ve paste/posted the Facebook comment, typos included. Why don’t I just use Word in the first place? Because I don’t expect to save my Facebook comments—even though I sometimes do. Plus, Notepad is straight ASCII text—it doesn’t transfer font or format from one app to another, as can happen with Word vs. Website.

 

Monday, January 05, 2015                     11:50 PM

Poem:     In Which I Almost Die

I’ll be back—Oh, wait—no I won’t.

Why’d I say that? Damn twist the knife much?

Dying can be socially awkward—I say!

Hey, I AM back—I think I’ll live forever.

Why not? There’s so much that needs doing.

I better get busy—the world won’t save itself.

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.

Seasonal Withdrawal (2014Dec29)

Well, it’s still a couple of days ’til New Year’s, but excuse me if felt the need to crawl back into my shell, post-xmas. Today you have a choice again, between a very introspective essay and an even more introspective piano improv. The roller-coaster moods of the Holidays may be wearing me out, but they certainly give my muse a kick in the ass, so I can’t complain. Hope you like’em!

 

ESSAY:

Monday, December 29, 2014                          2:13 AM

 

Before The Beginning And After The End

 

Well, problem-solving is in our nature. We often try to solve the problem of the human race. But humans are animals—we can accept our animal nature or we can change. If we change, how far do we change, and to what end? And if we change, will we still be human?

Born in 1956 and raised first on Long Island (next to the Grumman plant where the LEM was developed for Apollo’s Moon landings) I took to reading the Tom Swift, Jr. Series of science-fiction adventure books—I assumed that mankind’s future lay in its spread throughout the solar system and, eventually, the galaxy. I assumed that we would continue to discover scientific principles that would benefit mankind, and use them to perpetuate our destiny among the stars.

But now all electronic developments are geared towards the social interaction of young people and the entertainment of the masses. All microbiological advances are turned toward the making of profits for the pharmaceutical companies. Advances in mathematics are turned into new financial market products, such as derivatives—or used to protect and/or hack computers. Science marches on, but it has found a way to cater to the most mundane impulses of the human animal. Where we could once point to scientific research as a sacred crusade against the darkness of ignorance, we now see it put on a par with evangelical, tent-revival-type preaching and political maneuvering.

The flooding into our lives of technology has cheapened the once-pure luster of scientific clarity—clever apologists for Faith attempt to ‘turn the tables’, saying that if Science can destroy our beliefs, then our beliefs can destroy Science. Politics and Commerce do equal damage to Science, editing PR-negative sections from research reports, declining to release such reports when their contents are unabridgedly un-spinnable, and even hiding public-health related research data under the mantle of corporate proprietary-data protection laws. Between the zealots’ attempts to parse the mechanics of the universe into a theist-friendly syntax and the filthy rich attempting to commodify knowledge and probability, we are less concerned today with the challenges that confront current science and more concerned with turning Science to our own advantage, individually and in groups.

Forgetting that Science is just a fancy word for Reality, zealots impugn the Scientific Method for its lack of ultimate answers. Science gives many answers, such as how to make a multi-tonned, steel machine fly through the air faster than the speed of sound, but it has no answers (yet) for many other questions. It has no ultimate answers—and the faithful should keep in mind that their own ultimate answers were made up out of thin air and wishful thinking—and that was a thousand years ago. Confusing control of Technology with control of Reality, the filthy rich hid the science of tobacco-related health risks—and they’re still hiding the science behind climate change, particularly as it relates to vastly profitable fossil-fuel industries.

Simplicity is a desirable quality in life, but having set our steps on the path of Science, we must say goodbye to simplicity. “Occam’s Razor” is the shorthand term used for a principle that says, given more than one possible explanation of a thing, the simplest explanation is the most likely to be true. But there is what we refer to as ‘elegant’ simplicity, such as the Pythagorean Theorem, and there is seeming simplicity, the desire for things to be simpler and easier than they really are. In addition, Occam’s Razor only suggests that the simplest explanation is most likely—sometimes a thing requires a more complicated explanation. As a rule of thumb, Occam’s Razor can be useful—but as a scientific principle, it lacks the reproducible results found in all good science.

Simplicity thus becomes a matter of personal opinion. When Newton invented Calculus, he created one of the most complicated procedures ever conceived—but it allowed us, for the first time, to solve problems that were too complicated to be solved with any existing mathematics. Newton found a complex solution to a complex problem—and we could easily describe that as ‘simplifying’ the problem. So what is simplicity? The idyllic life of the hunter-gatherer age was simple in many respects. But many activities, such as obtaining clean drinking water from a sink faucet, are far simpler procedures today than they were then. So simplicity is not exactly simple.

And this is hard luck for us all, because Science can simplify many things, but it can’t simplify our reasons, our wants, or our ambitions. These aspects of human nature can never be simplified without making humanity less diverse, less chaotic. And if we change humanity, we become inhuman. Fascism was a stark example of this problem—their ‘solutions’ hinged on unexamined fears and hatreds. We cannot ‘perfect’ humanity unless we are first perfect—and who among us is without sin? I am no more capable of ‘improving’ humanity than Hitler was—my only advantage is that I’m smart enough not to try.

Yet, if we cannot improve humanity, what is the point of progress? Progress grants us the strength to build mighty structures: ships, rockets, skyscrapers. Progress let’s more of us stay alive for more years. Progress gives us power—power to transport, communicate, grow food, manufacture, refine, and destroy. But progress never changes who we are—it only changes what we can do.

That is the traditional view of progress. But modern progress goes beyond mere shipbuilding and high-yield crops. Sequencing the human genome is more than medical research—it is the beginning of our transforming ourselves into purposefully-designed creatures. Far beyond the choice of gender, or even the choice of eye color, IQ, and body-type, the deeper understanding of our own blueprint will allow us to design and create humans to specific standards.

But this does not necessarily mean that we are acquiring the means for self-improvement. We are reaching the point where we can change ourselves, but we have not done anything to prepare ourselves to determine what ‘improvement’ would consist of. Just as computerization transformed the developed world into a target for hackers, gene-sequencing may tempt us to manipulate our DNA before we fully understand the risks of eliminating the element of chance that made all of natural evolution come up with the human race. In our quest for progress, we might remove the possibility of our greatest progress so far—the natural selection that brought us from amoeba to homo sapiens.

If something as profound as Consciousness can be brought about by random selection, who can say what other wonders lay ahead? Shouldn’t we have a firmer grasp on the machinations of Mother Nature, before we try to wrest the wheel from her hands? Or is humanity’s progress too complex to leave to the random mutations of natural life? I’m tempted to answer that humanity’s progress is too complex, in general, relative to our development of our understanding of where humanity is headed, and wherefore.

I was directed to a fascinating online article today (http://www.common-place.org/vol-04/no-02/semonin/) “Peale’s Mastodon: The Skeleton in our Closet.” by Paul Semonin. Semonin tells of the famous portraitist, Peale, who dug up a Mastodon skeleton in the late 18th Century—and how this discovery of an extinct species set minds to work—including those of our founding fathers, Jefferson in particular, who tried to purchase the remains. Semonin says that the Europeans teased the new American republic, claiming that America was a land of small creatures and small men. The Americans were quick to seize on the image of a native-American animal that outsized all others, even the mighty elephant. Plus, they convinced themselves that the Mastodon was a carnivore and dubbed it the Ruler of the American Wilderness.

Semonin speaks of this idea of an alpha-predator, the anthropomorphizing of the mightiest and most terrible beasts in a given ‘wilderness’ into not just the most dangerous beings but, somehow, also in charge of the place. He points out that we speak similarly of the dinosaurs ‘ruling’ the earth of pre-humanity. I agree that he seems to have found a piece of pure human nature that has injected itself into our critical thinking, even unto the present.

Back in the bad old days, whoever was the ruler, the chief, king, emperor, head man—those guys had the power of life and death over those under their thrall. That makes a sort of sense when you figure that, prior to our reaching the apex of the food chain, something else was ‘taking out’ the occasional weakling or non-team player—and once a mighty leader puts an end to that culling of the tribe, that power transfers to the leader. The logic may seem specious, but you know how it is with ‘mighty leaders’ and ‘rules’.

It got me thinking about the whole ‘getting eaten’ thing. We started out as mere players in the great circle of the food chain, and as we attained the ability to fend off even the most dangerous predators, we retained the risk of being made a meal whenever we strayed from the group. There are still parts of the world where people can find themselves, if unarmed or unprepared, at the mercy of a large, hungry predator—but such locations are few and the predators sparse. I understand that there are villages in India that can still experience tiger incursions—once they become man-eaters, they are hunted mercilessly. And there continue to be plenty of bugs, snakes and what-not, which can kill with venom—not to mention the many deadly germs and viruses. We are not entirely safe from nature, but we are pretty safe from being eaten.

And I guess that presents a problem. A major consideration for all of our forebears, up until a handful of generations ago, was avoiding being eaten by a predator. Our instincts still stand up the hairs on our necks when we hear the howls of a wolf-pack, but outside of a camping trip in the mountains, we rarely have such reminders to think about. Modern people are far too concerned with the lack of money to waste any time thinking about lions, tigers, or bears. We used to respect the hell out of those creatures—and why not? They had the power of life and death—they were life or death.

It’s possible that our difficulty with choosing cooperation over competition is partly due to the fact that we evolved as creatures that were always under threat. We perceived ourselves, on some level, as prey—and still do. Our obsession with the totemic possession of power, if based on our instinctual expectations of predation, will always favor ‘controlling the fate of others’ over ‘responsible acts of leadership’. When we think of power, we think of using it to control others as much as we think of using it for betterment of the group. This makes it virtually impossible to wield power impersonally and rationally—thus, power corrupts.

But the problem is deeper than certain individuals being consumed by their imagining of whatever power or authority they control. The more basic problem is that we all place survival on an equal, perhaps even higher, priority with justice. When my young boy’s head was being filled with space-age daydreams of a Star Trek future, it included a world without commerce or poverty—a world where one could focus on competing with oneself, instead of scrambling to snatch necessities from the wanting mob. It foretold a world where everything was being done for the right reasons—and what could be more different from the ‘future’ we now find ourselves arrived in?

Of course, Roddenberry was a dreamer—Clarke was a real scientist—his science fiction included the twisted motives of civilization’s less-dreamy players. But even Arthur C. Clarke dreamed of a race of aliens that would come down and save us from destroying our own children when they began to mutate into the next phase of humanity, the phase that would become worthy of joining the interstellar civilization the aliens represented. The Aliens of “Childhood’s End” were there to protect us from our own atavistic fear, borne of our animal past, of the unknown—the urge to kill anything that may threaten us—even if we’re not sure how—even if the threat is our own offspring.

Science fiction does a strange job of showing us two mirrors—one reflects what we become if we act like angels, the other shows us what we become if we do not change. The latter, showing straightforward extrapolations from where we are to where we may end up, can be truly horrifying. But the Star Trek-types can be horrible in their own way—I never saw anyone on Star-Trek eating potato chips while watching TV, or bitching about their lousy love-life—the nearest thing they had to a cat-lady was the “Trouble with Tribbles” episode—and the tribbles didn’t even pee all over the ship.

That may all seem very Buck Rodgers and all that, but the question is—is the lacking laziness, loneliness, and personal hygiene issues something that ceased to exist—or is it something that is outlawed? If all the good behavior on Star Trek is mandatory, then the series would properly belong on the same shelf as Leni Riefenstahl’s opus. If it isn’t mandatory, then what happened between now and the future to transform these people into almost-saints who explore the universe, without pay, smiling in the face of danger, and all getting along famously without a cop in sight? Those people are not the same as us. If we want to see the Star Trek version of the future, we have to do more than invent a warp-drive.

As always, the main difficulty is our fear of death, of non-existence. We don’t like to think of our own death, and we aren’t much interested in the death of our species, either. But I think that we can only begin to make plans for our ‘Star Trek’ future after we have faced the truth that humanity wasn’t always there—and it won’t last forever. Civilization is not an inert object—it is an event. Granted, it’s timeline is huge, but we can never really exceed our natural selves and become something ‘better’ unless we can stand back far enough to get a perspective on all of us, everywhere, over all the centuries, and where we are going—and maybe even where we may ultimately decide to go.

Intellectual courage is one of the rarest of human characteristics, but as our intellectual strength so swiftly increases through science and technology, we are in great need of such courage. We can map the countless stars in the sky, but it won’t mean a thing if we don’t start surveying our interior wilderness, and confronting some of our inner predators.

Christmas Coming Out My Ears (2014Dec20)

 

 

 

Two New Ones (2014Dec18)

We got our tree up and decorated! Check it out…

 

 

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.

Pete sans Drums (2014Dec12)

My old friend and legendary drummer, Peter Cianflone, came by today. He forget to bring any equipment, but I made him use an overturned trash-can and an empty packing box. He’s such a good sport (and besides, Pete can play on anything!)

I found this video enjoys a heavy hand on the volume–unlike most of my stuff. But Pete’s a veteran rocker, so crank it up.

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:

 

 

 

 

 

Playing Catch Up (2014Nov22)

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I just wanted to catch up with all my playing-videos:

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“What I Did For Love” (2014Nov19)

Wednesday, November 19, 2014                   11:52 AM

Here we are, Wednesday near noon. After my big day; writing, recording, producing and posting my new song’s video yesterday; I had trouble sleeping and have just woken up this morning—unusually late, even for me. The video shows Four ‘views’ so far, (still less than 24 hours since posting)—as my posts go, that’s practically ‘viral’. And, as usual, the success, such as it is, is in the doing of the thing. The verses had started popping into my head the day before. After I’d thought up a few lines I really liked, I started to worry that it was a good song idea that would just wander through my brain for a day or two and wander right back out again. It wouldn’t have been the first, or the hundredth.

So I gave myself a pep-talk, internally: this is current, this is amusing, this is about something that matters to you (I says to myself, I says). How will you feel if you let it slide and see someone else’s similar idea pop up online a few days from now? Again, it wouldn’t have been the first time, or the hundredth. I was having trouble sleeping the night before, as well—so I went to the PC in the wee hours, to type up the verses I’d thought of so far. Spencer, a night owl, too, was already there, playing his video game. I didn’t feel it was worth ruining his good time, so I went back to bed.

But the song still bothered me, so I will-power-‘crow-barred’ myself into making some quick videos, just a few seconds each, singing the verses as they occurred to me—and those video fragments were my reference when I began the job in earnest yesterday morning. I typed them all up and re-arranged them into the best sequence of verses I could figure. But then the printer wouldn’t print it. We have a shared printer in our house, but it boots from Claire’s PC, which for some reason had set that printer to “Local”—I’ve never sat at Claire’s PC before, but an hour or two later I had it fixed, and the lyrics printed.

While I’d waited for the strange PC to do its updates and re-starts, etc. I had also been working on the piano part. This was new territory—I’d never written lyrics to suit an old folk song before, having always used original music for my original songs—and that presented a problem. I can’t play from memory—even a song as simple as “Froggy Went A-Courtin”. And there was no way I was going to be able to sight-read the music and read off the lyrics-sheets at the same time—so I had to learn “Froggy Went A-Courtin” by heart. In the process, I realized that I’d mis-remembered exactly how the song went—I had added an additional phrase, or line, of my own. Now I had to learn to play the song without looking, and to follow my rhythmic pattern instead of the original’s. If you listen to the video, you can hear how unsure of the piano part I was, even ten verses in—memory has always been my kryptonite.

But the video-shoot went surprisingly well—I only sang the song twice through and the second version came out as good as my skill-set was ever going to make it (without prolonged rehearsal and arrangement—which, with my tendency to forget what I’m doing, posed a risk, again, of leaving the song in limbo instead of finding its way onto YouTube). So I edited the final video from that second go-round, slapped a Title-image on the front and a Credit-image on the end, and posted it. Then I ‘shared’ it to Facebook, WordPress, Twitter, Tumblr, and Pinterest (I don’t know what I’m doing, online, but I do it as hard as I can).

The thing is, this song wasn’t my only recent, original-content post to the internet—I’ve recently posted a few drawings, some fine videos, some passable essays, and the first part of a new book I’m writing. I’d also been experiencing the frustration of posting those things and having them all be roundly ignored, for the most part, by everyone who is kind enough to ‘like’ or ‘comment’ on my posts (and that’s a pretty tiny list of people to begin with). This song, representing as it did the farthest reaches of my creative abilities, and following so many previously unremarked-on efforts, was the equivalent of my shouting, “Hey! Over here! Look at me!”—and it needed some ‘views’ to keep me from going totally bonkers. So—four views by the next morning—success!

My stuff can hardly be categorized as ‘masterpieces’—my poems, essays, and piano improvs are always more intended as ‘intermezzos’, little diversions with some thought and some wit, and a pinch of talent. Being little treats, as it were, I don’t expect them to garner me rave reviews or a towering reputation—I just hope for them to be noticed in passing, a chuckle along the way or a moment’s reflection. Thus, even slight notice is success. But the real success is in the doing and having gotten it done.

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:

 

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…

Past Peak (2014Nov07)

Lately I’ve felt a compulsion to catch the bright reds and yellows of late Fall, before the trees are bared entirely–so I took my camera along on my morning walk today. Ended up with more photos than I’d want to post here–but no problem, I just compiled them into a video to go with this morning’s little improvisation…

But here’s just a few:

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enjoy the weekend!

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:

 

Getting All Caught Up (2014Nov03)

Times hurries by, as they say. Here are two new pieces…

 

 

 

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.

 

 

 

My Turn To Talk (2014Oct24)

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Friday, October 24, 2014                     4:50 PM

I want to talk to these people. For starters, it isn’t fair that their personal stupidity gets so much exposure while the rest of us are stuck talking only to our small circle of friends and neighbors. I want to talk to Don Young, Chris Christie, Nan Hayworth, that bubble-brain on FOX news (Yeah, which one? I know.) and that 17-year-old walking pimple from Australia who likes ISIS, and killing people. I want to tell you all something.

You’re all assholes—stupid, sick, selfish, stuck-up, stupid assholes. Did you notice I used ‘Stupid’ twice? Yeah, that was on purpose. But don’t worry—you five are certainly not alone. There’s Rick Perry—Texas asshole. There’s Rand Paul—Kentucky asshole. There’s Vlad Putin—Russian asshole (bonus points—it’s not easy to make your ignorance stand out in Russia!) There’s Republicans as a whole—what a bunch of eyes-tight-shut assholes you people are. Nothing personal—you’re all just as stupid as mud, that’s all.

And a lot of you are evil motherfuckers, as well. Don’t get me wrong—you’re still unbelievably stupid—but evil, too. And in such a dazzling variety of ways—you’re selfish, you’re greedy, you’re xenophobic, you’re homophobic, you’re afraid of girls, you’re afraid of educated people—you’re even afraid of the thoughts in your own damn heads. How’s that for cowardice? What makes these lily-livered, piss-yellow cry-babies think that their fear-mongering is something the rest of us in the world have the slightest use for? Too scared to think straight, I guess.

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Koch brothers? Are you listening? Your mother should have strangled the both of you with your own umbilicals—you think being rich makes you right? Sorry—being rich just makes you bigger assholes. But stay rich, please—if that’s what it’s like, heaven protect the rest of us—you two are already beyond all hope—a  pair of scumbags with enough money to spread the fame of your idiocy far and wide. I guess I’m lucky—when I have something idiotic to say, at least I can’t afford a billboard to plaster it on.

So which makes me the most angry—you pack of morons, or the morons that feature you in the media, to the point of obscuring anything that really matters? It’s a tough call. Stupidity is generous to you all. But, no—it’s still you idiots. The people that have to make a living have at least some sort of excuse to do the stupid things they do—they’re not in charge of Stupid—that’s all on you, you self-important bags of excrement, you.

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All that being said, here’s a piano improvisation in the same, damn-the-torpedoes vein:

 

 

And just to keep everything civil, here’re some pleasanter words from far pleasanter people…