Happy Mothers Day to one and all (but especially Mothers). Here I have once again used photos I took of our front yard as backgrounds for the Titles and Credits stills.
The actual photos are displayed, as well.
Howdy, y’all!
Here are two more improvs:
-and-
Well, I went outside today to take pictures of the Daffodils and Hyacinth (and that one that might be bluebells, I don’t know my flowers all that good).
We like to commingle our assets vis-a-vis lawn and garden–the bulbs are everywhere. It makes the lawn-mowing a lot tougher, but it’s more fun…watching to see what springs up where.
My new camera is doing very well–And I managed a short improv to go with the photos in today’s YouTube video.
I’ve also included some of the stills below that formed the source of my video overlays–happy May Day to all’yuh!









Of all my piano playing, the most common improvisations I do are all in a minor–so don’t be too disappointed if these two sound very familiar…
(Sometimes, it’s just about working the ax)
Here are the final four videos I will be shooting with the broken, busted, blurry camcorder–a new unit is on its way. If I can control my compulsion to make videos until Friday, I should be all set.
As for the titles, yesterday’s improvs seemed a sorry result for all my decades of listening to and performing classical music. So, these titles are by way of apology to the titans of classic music.
Today’s title should not be unfamiliar to anyone pressed for time on April 15th.
In spite of being unwatchable, I do hope some of you may enjoy listening to these videos…
Unfortunately, my camcorder has opted for ‘permanently out of focus’, so until I can replace it, and since it can still record the audio alright, I’ll be posting blurry videos. My apologies in advance–will put a rush on the replacement, but first must get OK from the boss (Claire)…
Before you get all caught up in April Fools cut-ups and capers, check out my latest:
…
You’ll find lots of flubs and fluffs in the two sheet-music videos–can’t be helped. Try the three Improvs–they’re more listenable.
************** ************** **************
************** ************** **************
************** ************** **************
************** ************** ************** -bye!
…
Thudeh, Thudeh, Thudeh, That’s All, Folks!
XperDunn plays Piano
February 12th, 2014
3 Standards: ‘Look of Love’, ‘Lovers Concerto’, ‘Love Is All Around’
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[From Wikipedia, the free encyclopedia]
The Look of Love (1967 song)
Released January 29, 1967
Recorded Philips Studios, London
Composer: Burt Bacharach Writer: Hal David
Ursula Andress inspired Burt Bacharach to compose “The Look of Love” watching her in an early cut of the film Casino Royale.
The track is played while Vesper Lynd seduces Evelyn Tremble, observed through a man-size aquarium.
“The Look of Love” is a popular song composed by Burt Bacharach and Hal David and sung by English pop singer Dusty Springfield, which appeared in the 1967 spoof James Bond film Casino Royale.
In 2008, the song was inducted into the Grammy Hall of Fame. It also received a Best Song nomination in the 1968 Academy Awards.
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[From Wikipedia, the free encyclopedia]
“A Lover’s Concerto” a single by The Toys
from the album: The Toys Sing “A Lover’s Concerto” and “Attack!”
Released 1965
Writer(s) Sandy Linzer and Denny Randell, Christian Petzold
“A Lover’s Concerto” is a pop song, written by American songwriters Sandy Linzer and Denny Randell and recorded in 1965 by The Toys.
Their original version of the song was a major hit in the United States, the UK and elsewhere during 1965. It peaked on the US Billboard Hot 100 chart at number 2
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[From Wikipedia, the free encyclopedia]
“Love is All Around”
Single by The Troggs
Released October 1967
Label(s): Page One/Fontana UK; Fontana (Mercury) US
Writer(s) Reg Presley
“Love Is All Around” is a song composed by Reg Presley and originally performed in 1967 by Presley’s band, The Troggs, featuring a string quartet and a ‘tick tock’ sound on percussion, in D-major. Purportedly inspired by a television transmission of the Joy Strings Salvation Army band’s “Love That’s All Around”, the song was first released as a single in the UK in October 1967.
On the US Billboard Hot 100, the record entered at No.98 on 24 February 1968, peaked at No.7 on 18 May 1968, and spent a total of 16 weeks on the chart.
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Lastly, the graphics are by Hokusai
Please Note: The last video is two song covers of songs written by : Howard Dietz and Arthur Schwartz
====================================
From Wikipedia, the free encyclopedia: Dancing in the Dark (Howard Dietz and Arthur Schwartz song)
“Dancing in the Dark”
Music by Arthur Schwartz
Lyrics by Howard Dietz
Published 1931
Recorded by Artie Shaw, Ella Fitzgerald, Frank Sinatra, Fred Astaire, et. al.
“Dancing in the Dark” is a popular song first introduced by John Barker in the 1931 revue The Band Wagon.
The 1941 recording by Artie Shaw and His Orchestra earned Shaw one of his eight gold records.
It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook.
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From Wikipedia, the free encyclopedia: Alone Together (song)
“Alone Together” is a song composed by Arthur Schwartz with lyrics by Howard Dietz.
It was introduced in the Broadway musical Flying Colors in 1932 by Jean Sargent. The song soon became a hit, with Leo Reisman and His Orchestra’s 1932 recording being the first to reach the charts.
The first jazz artist to record the song was Artie Shaw in 1939.
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Richard and Peter Cianflone (fresh off the plane from their whirlwind European tour)
Richard and Peter Cianflone’s most excellent CD!
“Rowynn | Subjective” is Brand New….
Buy Now–show your support!

The Brothers Cianflone (In a former Era)
(or get it at Amazon: “Subjective” from Amazon)
I enjoyed multiple listenings to this wonderful album–yes, they are old friends, but that’s beside the point. I would feel quite an idiot if I were to recommend any music other than my own favorites…
So, enjoy..


Okay, I have a long one here, 20 minutes or so of xmas carol songs–I neglected to sing along, so it’s just the piano part.
Then I did two improvs in that same recording session that I’m calling ‘xmas stuff’ & ‘more xmas stuff’.
And the final upload, a left-over from a few days back, totally non-holiday-related.
Enjoy…

Sunday, December 01, 2013 3:32 PM
Well, it’s December, at least—long past the appropriate time to bring up the holiday season, to most marketers. But Xmas is not so easily tamed. We give our thanks in November, we give our presents in December, and we give ourselves new goals at New Year’s, the first day of next year. Xmas is in the middle but gets the lion’s share of the focus—giving things to each other calls to that materialism we all have at least a spark of—but it is an event, and in so many senses, more engaging than the more ritualistic form of the ‘book-ends’ holidays.
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So I prefer to keep each event to its place and I never begin to play Xmas carols on the piano (and worse yet, sing) until December 1st. Xmas has pressure enough—and in the nadir of Winter—with the expectations needing filling and the mandatory purchases having unbalanced a recently comfortable account balance.
More’s the pity—the Winter fest of Europe’s ancienter times was a blow-out in every sense of the word—even sometimes electing a ‘governing fool’ who gave orders to the gentry—but always including drinking too much, brawling for no reason, and debauchery among the adults of the community. Even burning down a house or two was considered no great extreme—and the first thing the Reformed Protestant Churches did was outlaw the celebration of Twelfth Night, or Yuletide.

This did not stop people from celebrating—and it’s my guess that the raucous outburst of pent-up tension was the very best way to prepare for the group to live all huddled together, indoors, for most of the winter. Today, with stress an unavoidable fact of life, it makes little sense to have the holidays be filled with guilts and repressions—as it is celebrated by a tremendous number of Americans today. But even that undertow of familial and social demands on the celebrants does not define Xmas (no matter what Chevy Chase would have us believe).

I believe that Xmas has become an emotional refuge, its most important function being to allow us the fantasy, at least for a day or few, of thinking our lives have the same simplicity and cyclic regularity that those pagans once enjoyed. Most rituals have been stripped away from modern life, aside from weddings and birthdays—the number of people with ashes on their brow on Ash Wednesday is so sparse that it can disturb non-Catholics coming upon it the first time that day—they impulsively tell one he or she has a smudge on their forehead.

Those fortunate enough to be raising children focus the entirety of the ‘Season’ to their children’s (hopefully) treasured memories—the things parents hope their children will reproduce with their own families, some day. And no childhood fantasy is so seriously guarded as the ‘belief in Santa Claus’. This dichotomy between kids and adults has its good side, I guess, but I could never see it as different from ‘lying’, so we had no great emphasis on Santa’s reality—the kids are more interested in the presents, anyway.
That it is a stupid idea is confirmed, by my reckoning, by the number of stupid Christmas movies that focus on the maintenance of this myth as a humorous plot point.

Xmas has to do with being in the northern states, Washington to Maine, or thereabouts, and walking through snow to bring your freshly chopped-down pine tree into your living room. Anything else is not a Hollywood-approved location for this coziest of holidays—one can never feel quite as good about oneself as when donating to (or better yet, feeding) the wretched poor when the ground is covered with snow.
New York City has a slightly different take on the season, but is still within prescribed conditions to be a ‘real’ Christmas. It adds a lovely dollop of urbanity—window displays, municipal decorations, office parties (though not as solid a tradition as once was) and seeing the toys in FAO Schwarz’s and the big Xmas Tree in Rockefeller Center, on ones way to Radio City Music Hall for the traditional “Nutcracker” show.

But the full-on, tradition-filled Christmas happens in New England—plenty of indigenous pine trees, a good chance of snow on the ground (before Climate Change, anyway) and tree ornaments that may have passed down through three or four generations. Ordinarily, the head of the clan will have ‘the family’ to their big house and make a short week of the holiday.
I watch nothing but the Hallmark Channel for the whole of December—I can’t get enough of these crazy movies—Elves fall in love with humans; Santa’s son doesn’t want to take over Christmas; a poverty-stricken family somehow find themselves living in a big, beautiful house in a lovely, loving, small town; Santa’s sleigh is stuck in the shop; A reindeer with a fluorescent nose flies at the front of Santa’s team—you know the drill.
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However, it isn’t entirely Hallmark’s fault—it was Charles Dickens’ “A Christmas Carol” that gave Christmas its wish-fulfillment aspect. It was his idea that the ‘Christmas Spirit’ was a mandatory giver of grace to even the most twisted misanthrope. The idea that hard-nosed business-people were a blight on society wasn’t new, but the ludicrous suggestion that they can be convinced to open their hearts one day a year… —all Dickens.
And now Hallmark channel has evolved into a cornucopia of sappy, sentimental hogwash, non-stop for 25 full days of nothing but Xmas movies. I am fascinated by their transmutation of human ritual into wish-fulfillment fantasies and Cinderella-type romances. There’s plenty of sneaky elves doing magic and smirking behind a corner at the surprised humans—there are plenty of BFFs that make seemingly trivial remarks that resonate with the movie’s plot-line (or it’s title—which in some cases is the movie in a nutshell, for example: “Snow Globe”).

But sometimes I catch them in a new bit of blasphemy—this year (unless I didn’t notice in previous years) was the use of the tag-line, ‘Hallmark, the Heart of Joy’! Can you imagine? “Joy: def. Intense and especially ecstatic or exultant happiness”. In a religious context (if I may suggest that Xmas has a religious context) ‘joyfulness’ is the ecstasy felt by those who worship the newborn son of God. I’m sure Hallmark was just looking for a generic word, like ‘tinsel’ or ‘stocking’, to suggest Xmas without confining their audience to any specific religion—but in my opinion, ‘Joy’ can be seen as overstepping by sensitive folks like me.

Besides, Joy is pretty strong language, especially when describing the most shamelessly sugary genre of cinema in the world today. Maybe ‘Hallmark, the Heart of Sweet’ ? If you want to see something crazy, check out the Xmas Movies listing of your current cable provider, TV, Hulu, or Netflix—thousands of these films—and Hallmark makes five or ten new ones every year, just to cement their place at the forefront of kitsch. So I guess it’s what you call a ‘guilty pleasure’ for me to watch these movies on Hallmark channel for hours on end. I don’t approve of Hallmark’s immersion in the treacle of holiday sentiment—far from it.

Hallmark has a much older claim than computers to destroying our literate holiday traditions—the whole point of a card, back when, was that you made it yourself—put some thought and feeling into it. Lots of people still do that, but very few Americans—‘we care enough to send the very best’, as Hallmark once drummed into our ears, back when they were merely a greeting card company. All the little notes and present tags and letters from old friends—they are nowhere to be seen in modern American Xmases.

So I lie in bed and allow the false joy of Hallmark channel to wash over me. I wonder about the kids of today—how much of their holiday season is torn from their focus on the gadgets they all have now? How many kids get sleds for Xmas, compared to how many get the latest gaming consoles or handheld electronics? And I wonder at the power of my conditioning as a child, that even now as an atheist of decades, I still think Xmas has great value and should be treasured for whatever few truly human exchanges of love and joy (and presents) it still engenders, in spite of the tinsel.

I’ve just been catching up to myself–all recordings from the past eight days have now been processed:
Hope you enjoy….
Okay, two new improvs and a look at some of the artwork contained in my video uploads:
GRAPHICS:
Back in the I-beginning, museum sites had no restrictions on downloading graphics of their paintings, sculpture, etc.
Back then, it took minutes for a hi-res graphic to download off a phone jack ISP, but I knew that someday the doors would all be locked–so I downloaded graphics like an obsession. Nowadays, security on graphic image files is pretty tight. It’s all ‘information’ now, and information is ‘owned’ now, too. But I don’t commercialize my sites, so nobody looks too closely. Also, there are special programs like that of the Rejksmuseum in Netherlands, which allows a user to download graphics of their masterworks for non-commercial use. I still grab stuff off the Google-Image search, but I have to be more careful about snagging something off of those new ‘graphics by fee’ sites–one of them threatened me with legal action a few weeks ago!
Anyhow–here’s some of my latest ‘artwork’ in service to my YouTube channel uploads, and the original files I used for graphics backgrounds. You’ll notice that I over-lighten or over-darken these paintings to make my Text stand out and be legible.

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

20131019XD-Improv-GYup_02_200_Currier_&_Ives_Ready_For_The_Signal

20131019XD-Improv-GYup_03_No_Known_Restrictions_Horse_Racing,_Currier_&_Ives_Lithograph_1890

20131019XD-Improv-GYup_04_Trotting_Cracks_on_the_snow

20131019XD-Improv-GYup_05_english_hunt_fence

20131019XD-Improv-GYup_06_Hunter

20131019XD-Improv-GYup_(CreditsCARD)

20131019XD-Improv-GYup_(TitlesCARD)

20131019XD-Improv-HYup_(CreditsCARD)

20131019XD-Improv-HYup_(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XV_Robin(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XVIII_BarafostusDream(TitlesCARD)

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_02

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_02_Baschenis_Musical_Instruments

20131024XD-Improv-Factory(TitlesCARD)

20131024XD-Improv-PrototypeX(CreditsCARD)

20131024XD-Improv-PrototypeX(TitlesCARD)

20131026XD-Improv-AdAstra(CreditsCARD)

20131026XD-Improv-AdAstra(TitlesCARD)

20131026XD-Improv-Aspere(CreditsCARD)

20131026XD-Improv-Aspere(TitlesCARD)

20131026XD-Rijksmuseum_MyStud_Art-Nouveau_interieur_anoniem_1890-1910

20131026XD-Rijksmuseum_MyStud_Delftsche Slaolie-Jan_Toorop_1894

20131026XD-Rijksmuseum_MyStud_Het_stadhuis_op_de_Dam_in_Amsterdam-Gerrit_Adriaensz-Berckheyde_1672

20131026XD-Rijksmuseum_MyStud_Portret_van_een_vrouw_tussen_bloemen-Eva_Watson-Schütze_ca_1910

20131026XD-Rijksmuseum_MyStud_Seated Cupid-Etienne-Maurice_Falconet_1757

201320811XD-PreRaphWomen_GoldenTrio

20131026XD-Rijksmuseum_MyStud_Mantelpiece_w_relief_of_Paris_n_Oenone-Jan_Baptist_Xavery_1739
I got two decent improvs out of today:
The Fitzwilliam Virginal Book was published in England in the 17th Century.
The virginal was a small clavier, so quiet it could only be heard in a small parlor in absolute silence. I guess it was of a piece with the way gentleladies were expected to behave in the old days. The music, which has much more life to it than I’ve been able to express herein, is nonetheless very sleep-friendly. One can only imagine what those people would have made of a heavy metal concert….

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

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

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

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

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

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

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

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

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

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

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

Just a few notes: I made up ‘Wulfric the Bad’–as far as I know, there’s no actual person with that name–Boston, on the other hand, is an actual place, but also the name of my niece’s daughter. The rest is pretty self-explanatory…
Today was a rest day. Not that I actually schedule rest days—I only have days of high activity, high productivity days, terrible days, and rest days. I like days when I’m active—I get up and move around, even go outside; I talk to people; I do the crossword; I write, draw, or play the piano—anything that rouses the circulation at least a little, anything that puts some spark in those brainwaves.

Such activity inevitably leads to a productive period. I’ll record some piano music; I’ll write op-ed-type essays; I’ll scan in some old artwork or I’ll photo-shop my artwork and my photos, whatever I usually do when I feel like I’m involved in life, even if only peripherally. The ultimate goal is to ‘Post’ things to my online friend-circles—a finished recording, a proofread essay, some graphic artwork of my own creation. Not everything I write gets posted—and I’ll tell you why I’m glad about that. If I was comfortable posting everything I wrote, I wouldn’t be getting at the heart of things that are important to me.

And that’s probably the same reason I can’t get a toe-hold on any fiction-writing—if I wrote about things I care about, things I felt are too personal to share with ‘the public’, even in fiction form, I would feel too exposed. Plus, all my characters would be transparent ‘takes’ on the people closest to me—my family and friends. So, even if I was comfortable laying myself open to the world at large, I wouldn’t feel right using people I care about as characters in a story. Sometimes, when I’m reading something, I’ll wonder to myself about the author and whether he or she felt embarrassed about certain scenes or dialogues, especially when it involved recognizable characters from their actual life.

Anyway, it’s not for me. I don’t think I could write an intimate love-scene and be okay with my children reading it, or my mother, or my neighbors, or really anybody—no, writing fiction is for thicker-skinned people than me. And I see no point to writing fiction that can’t be shared with the world. Still, I can write essays to myself about myself—that falls under the heading of ‘therapy’ (like those letters they tell you to write and then tear up when you’re mad at somebody). And I have felt certain instances of clarity that came as a result of putting my thoughts and feelings into words.

But I often rant about public issues and historical perspectives and my ideas about what’s going on in the world—and those I can gladly post. Likewise, a lot of my piano recordings don’t make it to YouTube. Some days I record 45, 50 minutes of piano, but have to edit out everything but the six-to-twelve minutes of Improv (when there is an Improv). And my drawings, too, are edited and selected for posting, with many being too poorly drawn or too weird to share with the world. My productive days always follow my active days, but sadly my active days don’t always result in productivity—a lot of being good is working and practicing, and I’m hard enough to listen to when I’m recording intentionally for a YouTube posting!

That’s my active days and my productive days—then there’s the recoil. After posting a particularly felicitous piano improv, or essay, or poem, there’s a feeling of incompleteness—and the better I feel about a post, the more it hurts to watch it just lie there, no likes, no plays, no comments. Some days, when I feel I’ve reached a new quantum-level of quality, I could almost scream, “Why won’t anyone look or read or listen? How can this incredible effort go unnoticed?!?”

The truth is, I avoid the usual means suggested for building an online following—building my list of contacts and followers, posting my stuff to a site that is a platform for a specific art form, ‘liking’ other people’s posts to get them to feel obliged to return the favor… All that stuff reminds me of my old ‘mailing-list’ days, when very ambitious entrepreneurs would start a catalog mailing just to acquire a list of people who were proven likely to buy something from an expensive (‘high-ticket’) retail catalog. All these tips about networking and building a client base aren’t really new—they’re just new as an online activity. And it’s all salesmanship—it requires the same brain activity as selling cars: the oily friendliness, the tempting of the prospect’s ego, the jabs at the prospect’s sense of inadequacy, and the mind-games of ‘closing’ the sale.

It’s all hucksterism—and I used to get paid to do it professionally—I’m not even a little bit inclined to do it as a ‘hobby’. Plus, while I knew the techniques of ad-copywriting, targeted marketing, eye-catching layouts, and glossy presentation, I was never good at the face-to-face stuff. I’ve never been good with people, unless they were as guileless as I am—babies and pets seem to love me—big clients and movers and shakers—not so much.

So my online followers are few and I have no plans to try to increase their number except through random happenstance. That doesn’t change my despair at having no hits on my latest post, but it does explain how I can hold on to the conceit that I might be good at something, while having no practical indication of that possibility from my ‘audience’ of friends and relations.

So, productivity must give way to the whiplash of recoil—I put it out there, and nothing comes back—these make for bad days—and that’s over and above the ‘bad’ days of my physical functioning. These are days when I listen to my video over and over, asking myself, “Is it really good? Or am I too close to tell?” And I read my essays over and over. Sometimes I’ll find a typo, or a grammatical lapse—but mostly I just read them repeatedly, asking myself if I’m saying something worth hearing, or am I just making an ass of myself?

Better are the rest days. These rest days come when I’ve done a lot over a short time span, my fingers are stiff, my mind is fuzzy and I don’t even try to do anything more just yet—and I am still high enough off my creativity-buzz that I don’t think about anyone else’s response to my stuff. I tell myself, “Just take it easy—you’ll be feeling better tomorrow.”
XperDunn plays Piano Covers – July 16th, 2013
Two (2) Songs: “Three Coins In The Fountain” & “Time On My Hands”
WIKI sez: “From Wikipedia, the free encyclopedia
“Time on My Hands” is a popular song with music by Vincent Youmans and lyrics by Harold Adamson and Mack Gordon, published in 1930. Introduced in the musical Smiles by Marilyn Miller and Paul Gregory. Sometimes also co-credited to Reginald Connelly.”
and WIKI also sez: “From Wikipedia, the free encyclopedia
“Three Coins in the Fountain” is a popular song which received the Academy Award for Best Original Song in 1954.[1]
The melody was written by Jule Styne, the lyrics by Sammy Cahn.[1] It was written for the romance film, Three Coins in the Fountain and refers to the act of throwing a coin into the Trevi Fountain in Rome while making a wish. Each of the film’s three stars performs this act.”
XperDunn plays Piano
July 16th, 2013
Cover: “There’s a Kind of Hush” (All Over The World Tonight)
“There’s a Kind of Hush” is a popular song written by Les Reed and Geoff Stephens which was a hit in 1967 for Herman’s Hermits and again in 1976 for the Carpenters.
[NOTE: The video says July 14th, but this was recorded on July 16th, 2013]
Here are some song covers with lots of pretty pictures to look at:
XperDunn plays Piano July 7th, 2013
Three (3) Song Covers : “I Think We’re Alone Now” “If I Fell” “Kansas City”
XperDunn plays Piano July 7th, 2013 Improv – Starship Blues
XperDunn plays Piano July 7th, 2013 Improv – Sabbos Goy
XperDunn plays Piano July 6th, 2013 Improv – Wing Dang It
XperDunn plays Piano Covers
April 4th, 2013
Songs by:
Richard Rodgers
&
Lorenz Hart