The first time I got a true sense of history was when I asked my parents about World War II. My parents were children of the thirties, so WWII was their childhood, for the most part. But WWII as history—as it was presented to me in school, on TV, and in books and movies, was a historical event. When I asked them about it, it seemed to be something they heard on the radio news—no more a part of their everyday lives than I found the reports of Nixon’s Watergate scandal, which was a big part of my youth but which I found to be nothing but an annoying part of every day’s newscast and paper headline.
Most grown-ups of the early seventies were relieved when Nixon’s administration went to jail and he finally resigned—I was simply relieved that everyone could stop talking about it. My parents felt much the same about the last World War—it was something horrible that the grown-ups got upset about. There were things I learned about the Second World War that my parents didn’t know about—and didn’t have any interest in knowing about. I consider myself lucky that none of my kids ever took an interest in the Nixon era—I’d be just like my folks.
Similarly, we here at home knew far more about the fighting in Iraq and Afghanistan than the soldiers who were doing the fighting. They probably don’t get CNN in action zones—and they’re probably too busy to watch it, even if they did. It’s always about perspective—if you can climb a tall tree in the middle of Kansas, you can see more than everyone else—but the people on the ground are the only ones who matter, the ones who get things done. On the news we see what’s happening everywhere—a soldier under fire has strictly local interests.
History, despite its importance, has already happened. We can talk about it, we can learn from it, but we can’t change it. Our interests in history tend to focus on whatever means something to us on its face. Everyone likes the Revolutionary War because it was a war for freedom—and freedom is a popular thing. The history of science has fewer fans—science is a forbidding enough topic without the addition of dry old history. Neil DeGrasse Tyson has remarkable success at it—yet he has to leaven it with plenty of the new, the latest things, the wildest new theories, the bleeding-est-edged tech. My point is that you don’t have to stray far from the beaten path of military events and inventions to find areas of history that have no writers, never mind no readers.
It makes sense. History, in a sense, is a playback of the past—put too much detail into it and you end up without enough of a present to do anything but study the past. Plus, history is the history of all—we have enough trouble keeping track of all the details in our own solitary lives. To tell the story of everyone mandates that we speak in mostly general terms—else we reduce history to a series of actuarial tables.
I was equally nonplussed by my parents lack of interest in the classic movies that I watched incessantly on old late-night TV, and later, at the dawn of cable, on American Movie Classics, followed, finally, by Turner Classic Movies. But those movies were seen by my parents as they were meant to be seen—in a big old movie palace with close-up faces ten feet high. Those stars weren’t legendary to my parents in the same way—they were contemporaries, even if my parents had never left Bayside Heights to mingle with the Hollywood elite.
More importantly, I have contemporaries of my own, many of whom have no interest in old movies. A taste for cinema isn’t all that common, no matter what generation you’re a part of. There are lots of people who go to the movies—that’s not quite the same thing—in the same way that lots of people listen to and dance to popular music, but have no interest in music in its broader sense.
One piece of music history that has relatively few fans is swing music. It gets by—no genre is completely ignored in this age of media. But being so distinctively antique while lacking the gravitas of classical music—plus being confined to such a tiny slice of the historical timeline—it has a specificity that limits its mass appeal to the occasional cameo in popular culture. I count myself among its adherents, though I don’t pretend to any great learning on the subject—I just like to play it. Don’t get me wrong—I listen to early Sinatra, Billy Holiday, Glenn Miller, Arte Shaw, and lots of others. There’s a sense of power to the percussion in swing music that isn’t exceeded (perhaps couldn’t be exceeded) until the advent of electric instruments and amplifiers.
I admire that—I’m always trying to get the maximum effect from my baby grand’s acoustic sound alone. I feel like whatever extra fanciness I could get from a synthesizer or a beat box would be frosting rather than cake—not that I don’t like frosting. And I recognize that there’s a power to amplification and synth that nothing I can do will match—maybe a great pianist could take that challenge, but I’m still shooting for ‘good’.
The jingoism of the post-war forties and fifties was out of favor by the time I ran across “They Call It America (But I Call It Home)” by Freddy Grant (1953). Singing such unabashed patriotic mush was frowned upon by my Flower Power generation (see this wonderful essay on Patriotism in Music).
Nevertheless I can’t deny the thrill of such crowing. It feels good to celebrate the greatness of America, even if we are far from the perfect picture being painted in the verse.
The “Our Love Affair” cover is not the famous “An Affair To Remember (Our Love Affair)”—a romantic song composed by Harry Warren for the 1957 film “An Affair to Remember”, but the lesser-known song from “Strike Up the Band” (MGM, 1940) in which it was sung by Judy Garland.
I used a bunch of my classical art graphics to create the video backgrounds today—they give a sense of history, though I didn’t put them into any chronological order or anything. I’m kinda pushing the copyright envelope today—song covers with screen-grabbed art-works. Hey, I can’t do everything myself—and my amateur status makes it all fair use, since nobody really watches my videos anyway.
The following songs are performed in “Six (6) Swing Songs That Start With ‘S’ “:
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…
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.
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.
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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.
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.
Herman Hupfeld , in his beautiful lyric to “As Time Goes By”, wrote:
“This day and age we’re living in / Gives cause for apprehension
With speed and new invention / And things like fourth dimension.
Yet we get a trifle weary / With Mr. Einstein’s theory.
So we must get down to earth at times / Relax relieve the tension
And no matter what the progress / Or what may yet be proved
The simple facts of life are such / They cannot be removed.
You must remember this….”
We’re pretty familiar with the rest—there are few people who have neither heard this song nor watched the movie, “Casablanca”. But like the vast majority of standards, the ‘intro’ is usually overlooked—if not left out altogether. In the case of many songs, the ‘intro’ is no great loss. Some are outright drivel, or the worst sort of doggerel, and the fame of such songs indicates that some smart performer realized he or she had better get right to the ‘burthen’, without any preamble, or they’d lose their audience. And, surely, this also accounts for the fact that most classic songs are considered as having been properly performed whether they include the official ‘intro’ verses or not.
However, in some cases lyricists positively shine so much in their wit and wordplay that it’s a shame to leave the ‘intro’ unrecognized—particularly with the great lyricists. Nothing upsets me more than a songbook that decides not to print the ‘intro’—taking the choice out of my hands for the sake of volume, I suppose.
“As Time Goes By” has a fascinating introductive verse, as seen above. Hupfeld bewails the hectic pace of modern life, it’s constant changes and new information. He gets “a trifle weary of Mr. Einstein’s theory” and wants to get away from all that. He seeks out bedrock principles on which to rest, safe from the shifting sands of cultural distraction. And, of course, he finds them in Love, that favorite of all bedrock principles.
How surprised Mr. Hupfeld would be to learn that his theory of days-gone-by would see eternal popularity in spite of such enormous changes in women’s roles and in relationships generally. A kiss is still a kiss—except when it’s a workplace harassment lawsuit or a charge of improper touching of a minor or the gift of herpes. And in a way, a kiss is now more than a kiss, assuming that Hupfeld wasn’t imagining two men or two women kissing.
Worse yet, we are no longer allowed to ‘weary of Einstein’s theory’—we have to remember our PIN numbers, our passwords, the usual computer Control-codes, game-controller button-sequences, et. al. We have to worry about our AC’s BTUs, our car’s MPG, separating our recyclables, our FICA, our prescriptions deductible, and whether we have time to find out what ‘streaming’ is, or should we just keep trying to program our VCRs. Neither Hepfeld nor Bogie could have envisioned a culture where everyone had to learn to type—and only with their thumbs.
Still, the most luxuriously nostalgic aspect of these lyrics is that they still hung on to the dismissive subtext of that word ‘theory’. Today, when we mention Einstein’s Theory of Relativity, whether Special or General, we hear the word ‘theory’ in its historical sense, not in the sense that no one yet accepts the truth of it—much like the ‘theory of evolution’. Only the fringe-dwellers in today’s society place any emphasis on the word ‘theory’ in these phrases. Back in the early nineteen-forties, though, Einstein’s theories could still be confined to cocktail-party gabbing—Hiroshima and Nagasaki were yet to come, as were nuclear power plants, nuclear subs, nuclear aircraft carriers, or nuclear-powered space probes.
Today we take Relativity for granted, just as we accept quantum physics, or the big-bang theory. Now string theory, dark matter, black holes, and the Higgs-Boson particle have come to be commonplace concepts among physicists and cosmologists—even discussed on popular science programs for the layperson. On top of that, we are in the midst a digital-technology revolution, an upheaval so great that it threatens the stability of global civilization with its sheer speed, while we try to adapt from the ‘generational’ pace-of-change enjoyed for all prior history, to change that now happens on a monthly basis.
What wouldn’t we give to ‘sit under the apple tree’ of the 1940’s whenever we got weary of all that? Oh, for the days when the ‘facts of life’ were not only simple, but they couldn’t be removed! Here’s me taking a stab at the old classic, followed by two more piano covers from my piano songbook, “AFI’s 100 Greatest Movie Songs”. (I also recorded “Evergreen” but left it out in the end—I’m sure I can do it better some day soon.) I left out all the video effects today—sometimes less is more….
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….
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
Table cover, Christiaen Gillisz. van Couwenberg, c. 1650 – c. 1675
Gezicht op Derwent Water, in de richting van Borrowdale (Cumberland), Thomas Hearne, 1754 – 1817
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….
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.
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.
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
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.
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.
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.
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.
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:
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.
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:
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.
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.
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…
Piano Cover: “When I Fall In Love” (plus “Improv- When In Love With Shakespeare”) (2014Oct21)
My early-morning, throat-clearing session:
A piano cover of “When I Fall In Love”,
followed by a brief improvisation which I have chosen to
entitle “Improv- When In Love With Shakespeare”.
(You may notice the improved quality of the vocals caused by the positioning of the camera closer to my mouth than the piano.)
Sonnet IV
Vnthrifty louelineſſe why doſt thou ſpend, Vpon thy ſelfe thy beauties legacy? Natures bequeſt giues nothing but doth lend, And being franck ſhe lends to thoſe are free: Then beautious nigard why dooſt thou abuſe, The bountious largeſſe giuen thee to giue? Profitles vſerer why dooſt thou vſe So great a ſumme of ſummes yet can’ſt not liue? For hauing traffike with thy ſelfe alone, Thou of thy ſelfe thy ſweet ſelfe doſt deceaue, Then how when nature calls thee to be gone, What acceptable Audit can’ſt thou leaue? Thy vnuſ’d beauty muſt be tomb’d with thee, Which vſed liues th’executor to be.
Here Shakespeare uses finance as an allegory, exhorting the youth to spend his beauty carefully, not to waste it in self-satiety, but to produce heirs
that may enjoy his legacy.
Sonnet V
Thoſe howers that with gentle worke did frame, The louely gaze where euery eye doth dwell Will play the tirants to the very ſame, And that vnfaire which fairely doth excell: For neuer reſting time leads Summer on, To hidious winter and confounds him there, Sap checkt with froſt and luſtie leau’s quite gon. Beauty ore-ſnow’d and barenes euery where, Then were not ſummers diſtillation left A liquid priſoner pent in walls of glaſſe, Beauties effect with beauty were bereft, Nor it nor noe remembrance what it was. But flowers diſtil’d though they with winter meete, Leeſe but their ſhow,their ſubſtance ſtill liues ſweet.
This and the following sonnet can be seen as a pair–both use the seasons to symbolize the passage of time and the path of life. Youth is warned to
distill something permanent from his Summer, to keep him through hideous Winter.
Sonnet VI
Then let not winters wragged hand deface, In thee thy ſummer ere thou be diſtil’d: Make ſweet ſome viall;treaſure thou ſome place, With beauties treaſure ere it be ſelfe kil’d: That vſe is not forbidden vſery, Which happies thoſe that pay the willing lone; That’s for thy ſelfe to breed an other thee, Or ten times happier be it ten for one, Ten times thy ſelfe were happier then thou art, If ten of thine ten times refigur’d thee, Then what could death doe if thou ſhould’ſt depart, Leauing thee liuing in poſterity? Be not ſelfe-wild for thou art much too faire, To be deaths conqueſt and make wormes thine heire.
As with Sonnet V, the theme is the distillation of self against the losses of time’s passing–but with the specific notion, here, that ten children (!) make
a sure harvest against the poverty of age and death.
Over the last two days, I have created three new videos.
First is “A Fall Turn”–it is an unusually long specimen and includes photos of the encroaching autumn in our front yard.
Second is “Rough Riders”–a peppy sort of galloping thing, with reproductions of famous masterpieces and other art.
Third and last is “Her Face Had A Halo”–after playing this, I heard it in my head, then wrote the lyrics below.
So, here they are:
[written on Sunday, September 28, 2014 at 10:02 PM]
“YOUR FACE HAD A HALO”
O say, can you remember
when school started every September?
When greens turned gold and
Winds blew cold, remember?
And hair around your face once made a halo.
Your face a lovely setting for your eyes,
Your eyes a gateway into outer space,
Your words like honey wrapped in silk,
When with you I was never in a ‘place’.
When we were young we had that hungry fire,
That curiosity about desire.
We had no way to know that life was long—
We only knew the words to sweet love’s song.
The hair about your face once made a halo.
The other day my camcorder’s tripod broke. It was cheaper to buy a bigger, better one than to get it fixed (plastic pieces, especially vital ones, always break—I hope they don’t think they’re fooling anybody). I move slowly and deliberately nowadays—I’m damned if I can figure out how I broke it. But that was a special case (I hope). More often I run out of charge and get disappointed that something I was surprised to get a record of—was not recorded at all.
Yes, I run my camera a lot, but you know how hard it is to get a good recording when you’re self-conscious. Fortunately, I’m so absent-minded I can sometimes forget that there is a camera—but I have to run it every time, because I’m more likely to forget it when it’s always there.
I’ve also learned that I have to check the little screen after I hit ‘record’—sometimes it’s telling me that the lens-cover is still up, or the data-card is still in the PC port. There’s also a toggle switch to set the ‘zoom’—I don’t know why they can’t just use a set-switch instead of a toggle. It toggles so fast that I end up zooming in and out and in and out. It’s ridiculous.
The Internet is tightening up these days—only a few years ago I could download a graphic from Google’s Image Search and use it to make a point or to be funny—with all that stuff out there, it would be a shame to waste it and it’s isn’t like I’m getting rich off them. But those days are over. Not only have the graphics i-vendors created an overnight industry, they’ve found security measures that follow copies of their graphics. When they detect a Facebook posting or a blog graphic that ID’s itself as theirs, they contact you and threaten to sue you. So, goodbye Google Image Search.
I just use my own photos now—I have several thousand (I’ve transcribed both sides of the families’ photo albums into videos—and some other work). Plus I just take photos of anything—but I have to remind myself to do it. I’m so used to the camera taking videos; I forget to take a few snaps before I turn it off. I’ll have to start taking more pictures, however, since my need for them has suddenly increased. My primary use for graphics has been, until now, the two end-cards I use to bracket my videos. I like to have a still shot as part of the Titles Card and I prefer to use a different photo for the Credits Card, which makes two photos per video.
Now, I’ve begun using the old family albums (theirs and ours) to make videos to be overlayed onto the piano recital videos. This way I have something to look at as well as listen to. It may not improve the videos for everybody, but I have to work with what I have. Anyhow, because this will eat up a lot of my album collections, I’ll have to start using present-day snaps for the two cards, and sometimes for the overlay videos (I don’t want my family history to be the only thing in my videos).
They always get me, I tell ya. Back in the eighties I recorded myself on an audio-cassette recorder and listened to the (unedited) tapes in my car—my daughter took some (which I was flattered by) but there were few others involved, even as an audience. Blank cassettes were pretty cheap, I used the built-in mike—et, voila! Aside from the audio-cassette player/recorder (which I would have bought anyway, to listen to music) it cost me close to nothing.
April Fools Improv No. 2
I went from there to digital audio recorder, to camcorder, to HD camcorder with tripod—plus a few hundred bucks worth of software: graphics, audio-editing, video-editing, file-conversion, etc., and an external-hard-drive to hold it all. Some days I just say ‘f**k it’ and just play the piano. But I have gone so far as to buy mikes, an electric piano, and upload software to record straight from the keyboard’s MIDI port. I got it all hooked up, tried it out, and it scared me. It’s been gathering dust for a while now. It gives me the heebie-jeebies.
I’m thinking of quitting Facebook. I’ve enjoyed ‘interacting’ with people—I was surprised that everyone in my past was still out there, living lives I knew nothing of. I was amazed at some of the accomplishments of people who I last saw as children, or at best, teenagers. The connectedness to all the latest of the very latest in politics, showbiz, art, music, movies, books, writing, poetry, science, astronomy, space exploration, gadgets, discoveries, and absolutely everything else, has made me feel much more in touch with the world and the people in it. It’s almost like a canoe that goes along; and you can slip your hand in the water and feel the world flowing through your fingers.
So why quit? There are several reasons. At the end of the day, I don’t want my sole output to consist of keystrokes, mouse clicks, and peering at a glowing screen (no matter how mind-blowing the graphic). I can’t ‘Like’ my way through life. And the shadows of Mordor are gathering, i.e. between commercial and marketing activity, and Facebook’s own mad-scientist muddlings with what does or does not appear on our feeds, Facebook has become a dark wood with giant spiders in it. Several of my Facebook friends have been hacked. The interloper was found and expunged, the true people are back behind their profiles, and all’s well—plus, we all have an eye out now, if any of our friends starts IM-ing or posting strangely—but the chill is in the air.
It’s unsettling—whenever anything such as the internet, or snowboarding, or break-dancing—whenever anything draws a crowd of happy, engaged people who not only watch the thing, but begin to participate in the thing, the filthy rich will set up some kind of commercial approximation of it. Thus the clock is started. Once anything becomes a commodity or an asset, the race is on. Who can attract more customers; who can find the cheapest costs, who can get the highest price? Who has the best marketing campaign? Ultimately, it becomes regulated, circumscribed, a dead thing, a shadow of its former inspiration. It becomes a dark doppelgänger of what it could have been.
But Facebook is still free. Rather than simply quitting, I should consider changing my privacy settings. I could restrict my profile to just friends and a few favorite content providers, like George Takei, The Daily Show, I fucking Love Science, etc. Then I wouldn’t have to wade through the posts that are cleverly disguised sociology-landmines, or outright sales-pitches. My favorite ad is the small one on the bottom right of the Facebook ‘frame’—it’s usually a picture of a large-breasted young lady without a shirt, with the tag-line: “You gotta see this!” I actually clicked on that thing before I knew what I was doing. But the site you’re brought to is like a small-town diner’s paper placemat, just full of local service-businesses’ websites—and just reeking of hacker-vulnerability.
But cutting myself off from the ‘fire hose’ kinda defeats the purpose of being plugged into the whole world—it’s kinda the point. Otherwise, I imagine my friends and I will all end up uploading phone-pics of our breakfast each morning!
I know to avoid anything on the side-ribbons of the Facebook frame—no matter how intriguing. And I know to look for those little logos that warn of a larger organization behind that post. But it takes so long and gets so tiring. So, I guess I’ll stick with my friends, for a while at least, until the foliage gets too thick to hack through to them… ..if it gets too bad, I may still have to perform some sort of self-intervention. Life should not be lived on a keyboard. I spend hours on the computer, preparing and posting my little videos and my little essays (like this)—but I will not ‘hang out’ here. I have a perfectly good front lawn—there’s even some decent lawn furniture to sit in and talk (to myself if necessary).
Now, this is not the fault of Facebook, this is a failing of our Capitalism—one of its many—but nothing, not even Facebook (“It’s free and always will be.”) can keep out their tentacles. Facebook is a fragile thing, and it has become a badly trampled garden. We’ve all experienced ‘trolls’—they can be blocked and are, therefore, relatively harmless—but the ones who crawl behind the code (like the employees fiddling with our Facebook feeds) are far more difficult to spot, much less defend against.
Sociology is a wonderful thing. I took a course in college—it was great. But the first thing they teach you is that individuals are random and unpredictable, but the larger the ‘sample size’ (# of people) you study, the more predictable they become. And the internet is a darn big ‘sample size’. Sociology is primarily used in marketing research—its most profitable use (though it has many more important uses going begging). So it is only natural for market researchers to salivate over a titanic mass of consumers, all with the power to pay by clicking a mouse. But Heisenberg is on our side—the stats are only valid if WE don’t know we are being observed.
I saw a Times article—a man clicks ‘like’ on everything he sees on his feed for two days straight—even stuff he hates, he clicks ‘like’. He started getting crazy feed-posts from such nutjobs that he was afraid he’d be put on a government watch-list. His Facebook friends’ feeds went crazy, they were all screaming at him, asking if he’d been hacked. And some administrator at Facebook eventually called him to talk about it! He was messing up their trending algorithms.
It sounded like fun, but then I thought maybe it’d be better just to sign off for good and all. Would I lose something important, something worth staying in my present mode of checking out Facebook for two or three hours every day? Well, there are some people I interact with almost every day, very nice folks all of whom I enjoy being in touch with. And we all share stuff from the internet-fed chaos around us. All of them are too far away to have any regular contact with outside of Facebook.
Now here is the hilarious record of what happens when I try to play doubles with a real musician, Peter Cianflone–it’s almost too embarrassing to post, but I had so much fun—The first picture is to click on for the entire playlist (listen to all five videos in a row). The five individual videos are available below that, so you can pick and choose as you like. Enjoy, I hope!
In this improv, I attempt to use thirteenth-chords and eleventh-cords (at least, I think I am doing so). It’s a little slow in the tempo, but I was doing a lot of thinking between chords (like I have to, when it’s a new idea or technique) so please don’t hold it against me. I think it came out kind of dreamy (hence the title) but it has a certain ugliness, too, because of the strange discords such complex chords tend to create… But I don’t mind ugly.
Listen, I play my song books every day; I have a zillion of them, and I have carefully documented nearly all my preceding videos of piano covers with the Title, Composer, Lyricist, and Copyright holder of each song. But on this recording, I give the cover of the songbook (The Johnny Mercer Song Book) and I leave it to you to look them up if you’re interested. Johnny Mercer was an incredible Lyricist, but he also published many songs with both Music and Lyrics by him–making him rather unique amongst his peers.
Here I just play fifteen minutes of songs I like–I didn’t sing along this time, but sometimes I have, on previous recordings.
Hi All. For today we are serving a taste of bird songs, followed by four folk songs from Russia–after that, I just happen to have an Improv, as well. Enjoy!
Being out in the yard is not just pretty flowers–you can hear the birdies singin, too. Stills of the shoot are displayed below the two videos…
Our lilac bush is blooming–love that aroma. There were some other interesting flowers out there. The pink one is called lady-slippers. (I think.) I don’t know what the big leafy things are– I’m really not up on my plantology. I know dandelions– and I should know the little purple ones– They’re all over the yard.
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.
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!
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)…
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
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From Wikipedia, the free encyclopedia: Dancing in the Dark (Howard Dietz and Arthur Schwartz song)
“Dancing in the Dark”
Music by Arthur Schwartz
Lyrics by Howard Dietz
Published 1931
Recorded by Artie Shaw, Ella Fitzgerald, Frank Sinatra, Fred Astaire, et. al.
“Dancing in the Dark” is a popular song first introduced by John Barker in the 1931 revue The Band Wagon.
The 1941 recording by Artie Shaw and His Orchestra earned Shaw one of his eight gold records.
It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook.
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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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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…
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.
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.
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.
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.
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.
“Look at yourself. If you had a sense of humor, You would laugh to beat the band.
Look at yourself. Do you still believe the rumor That romance is simply grand?
Since you took it right on the chin, You have lost that bright toothpaste grin.
My mental state is all a jumble. I sit around and sadly mumble.
Refrain: Fools rush in, so here I am, Very glad to be unhappy.
I can’t win, but here I am, More than glad to be unhappy.
Unrequited love’s a bore, And I’ve got it pretty bad.
But for someone you adore, It’s a pleasure to be sad.
Like a straying baby lamb With no mammy and no pappy,
I’m so unhappy, but oh, so glad.”
-Lyrics by Lorenz Hart
Nowadays, there is some shame attached to ‘unrequited love’. Where it once masqueraded as a possibly noble state, i.e. Platonic love, it is today more closely associated with stalking.
Many of the love songs of the twentieth century describe stalking behavior as a normal recourse for a person ‘in love’. Now, when someone says they’d ‘climb the highest mountain and swim the widest sea’, they’re as likely as not to have the cops called on’em.
In Lou Christie’s “I’m Gonna Make You Mine” (lyrics by Tony Romeo) the singer threatens to :
“try every trick in the book
With every step that you take, everywhere that you look
Just look and you’ll find
I’ll try to get to your soul, I’ll try to get to your mind
I’m gonna make you mine
I know I’ll never give up, I’m at the end of my rope
From the morning till supper time, you’ll find
I’ll be waiting in line, I’ll be waiting in line..”
But my favorite part is when he sings:
“I’ll be a hard-lovin’, pushin’ kind of individual
Knockin’ night and day at your door
You’ll have to turn me away like an indestructible force..”
Now this song was a hit in 1969 and had no angry cards and letters coming in from either boys or girls who found it offensive—this was a normal lyric for the love songs of the time. Lou Christie, himself, was considered a creative and cultured musician, hailed by John Lennon as an original songwriter and artist.
Two of Christie’s songs are even based on Classical themes—
his “Rhapsody In The Rain” was based on Tchaikovsky’s “Romeo and Juliet”:
But then, Lou Christie’s first hit, his big break (written in partnership with Ms. Twyla Herbert) came up with one of the most chauvinistic lyrics ever written :
Lou Christie – “Lightnin’ Strikes”
(Song by Lou Christie and Twyla Herbert)
“Listen to me, baby, you gotta understand
You’re old enough to know the makings of a man
Listen to me, baby, it’s hard to settle down
Am I asking too much for you to stick around
Every boy wants a girl He can trust to the very end
Baby, that’s you Won’t you wait
[but ’til then
When I see lips beggin’ to be kissed
I can’t stop I can’t stop myself
Nature’s takin’ over my one-track mind]
Believe it or not, you’re in my heart all the time
All the girls are sayin’ that you’ll end up a fool
For the time being, baby, live by my rules
When I settle down I want one baby on my mind
Forgive and forget And I’ll make up for all lost time
[If she’s put together fine And she’s readin’ my mind
I can’t stop I can’t stop myself]
There’s a chapel in the pines Waiting for us around the bend
Picture in your mind Love forever,
[but ’til then
If she gives me a sign That she wants to make time
I can’t stop I can’t stop myself]
Lightning is striking again Lightning is striking again
And again and again and again Lightning is striking again
And again and again and again..”
I feel this song gives a very apt description of the cognitive dissonance suffered by teens and young adults of both sexes during the 1960s—much as it had been for centuries. This ‘good’ girls and ‘bad’ girls dichotomy offered no mathematics to explain how a young man could have as many sex partners as his young and ‘uncontrollable’ hormones drove him to, and still have a ‘pool’ of good, chaste girls standing by for a wedding at some future date.
We are left with two possibilities—all girls were ‘bad’, but discretely so, and shed that persona when some ‘spent’ boy finally proffered a diamond ring—or—all boys sowed a great deal less Wild Oats than they advertised.
Sarcasm aside, it was a clenched society that was quick to damn a woman for being indiscrete, and to forgive a man for not controlling his impulses, and to accept fairy-tale-like absurdities as the status quo. For a man to say he would ‘Lose his mind’ over his affection for a woman was considered very romantic, sort of congratulating and condemning the woman simultaneously for her ability to make a man ‘lose control’.
There are so many differences in our modern thinking, it’s hard to know where to start.
First, there’s the assumption that a man can’t be held responsible for sexual predation if he’s been overly excited by a woman. Today we call that date-rape—and I’ll tell you why. It would be pretty tough to look the other way when a man gets angry enough to blow up a building—and in modern society, if you have anger issues, you will be offered counseling—but men are still held to account for their behavior.
Second, the whole ‘get married and have kids’ thing has no place in today’s love song lyrics—Beyoncé’s “Put A Ring On It” gets close, but it’s also a sassy goof, aimed at boys with both jealousy issues and commitment issues. Once the oldie “You’re Havin’ My Baby” left the charts, the mechanics of Chapel Bells and Gold Rings and side-by-side burial plots became taboo in poetic longing and love lyrics.
Thirdly, and perhaps most importantly, few of today’s women would consider marriage their primary goal. Few of today’s women would consider their lives ruined by losing their virginity—on the contrary, it seems the beginning of adult life for most American women, rather than the end. And in this new societal view, “My Girl” becomes overly possessive; “Only You” is too obsessive; and “Blue Moon” comes off as just needy. Still, Stephen Stills’ “Love The One You’re With” takes the new view a little too far—fidelity of some sort is still considered the polite thing—at least in women’s minds.
The exaggerated nature of love lyrics has become overt—the old songs can still be enjoyed as the passions and urges going on in a lover’s mind, just so long as no one mistakes those hyperbolic pronouncements for healthy feelings.
Rap has similar Un-PC lyrics—but the street has become a two-way. Women have embraced their objectification, not as ‘the way of things’, but as ‘the way of men’, or rather the foolishness that goes on in a man’s mind. Further, some female vocalists have turned that meme against us, pointing out how easily men can be manipulated.
Empowerment of women has driven the young male vocalists to an excess of barbarism—not as a cage for women, but as a display of maleness. The ‘bitches and hos’ lyrics are defiant, not insulting—as seen in the fact that women have themselves embraced those terms, just as African Americans have embraced the n-word as something they share with each other.
The grit of reality abides—the above comments are observations on the art of song lyrics, not on daily life. Prejudice and exclusion persist—but the popular music of our times proclaims the end of these old biases, in times to come.
Well, I think this is my best effort on these favorites from my “Complete Carpenters” for solo piano and voice book–these are the treacliest and most banal of their repertoire–only a real sap has any chance of enjoying those 4 recordings of their repertoire (which fortunately includes me). I defy you to sit through all four–it can’t be done.
XperDunn plays Piano
August 27th, 2013
4 Covers of ‘Hits by The Carpenters’:
(1.) “(They Long To Be) Close To You”
(2.) “Rainy Days and Mondays”
(3.) “Yesterday Once More”
(4.) “Sing”
“(They Long To Be) Close To You” (2013Aug27)
Words by Hal David. Music by Burt Bacharach
“(They Long to Be) Close to You” is a popular song written by Burt Bacharach and Hal David. The version recorded by The Carpenters, which became a hit in 1970, is the best known.
In 1970, it was released by Karen and Richard Carpenter on their album Close to You, and it became their breakthrough hit. The song stayed at number one on the Billboard Hot 100 for four weeks.
With “(They Long to Be) Close to You”, The Carpenters earned a Grammy Award for Best Contemporary Performance by a Duo, Group or Chorus in 1971. It became the first of three Grammy Awards they would win during their careers.
(c) 1963 by U.S. Songs Inc, USA
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“Rainy Days and Mondays” (2013Aug27)
Words by Paul Williams. Music by Roger Nichols.
From Wikipedia, the free encyclopedia: “Rainy Days and Mondays” is a 1971 song by The Carpenters that went to #2 on the Billboard Hot 100 chart and it was the duo’s fourth #1 song on the Adult Contemporary singles chart. However, the song failed to chart in the United Kingdom until it went to #63 in a reissue there in 1993. “Rainy Days and Mondays was certified Gold by the RIAA.
The song was composed in 1971 by then fairly unknown composers Roger Nichols and Paul Williams. It was released as the first track on the album Carpenters. The B-side on the single is “Saturday”.
(c) 1970 by Almo Music Corp., USA
“Yesterday Once More” (2013Aug27)
Words by John Bettis
Music by Richard Carpenter
From Wikipedia, the free encyclopedia:
“Yesterday Once More”, written by Richard Carpenter and John Bettis, is a hit song by The Carpenters from their 1973 album Now & Then. Composed in the key of E, “Yesterday Once More” features a long middle section, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire side B of the album.
The single version of the song peaked at number 2 on the Billboard Hot 100 chart becoming their 5th number two hit and making them the act with the second most number two hits on the chart behind only Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.
It is the Carpenters’ biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2. Richard Carpenter admitted on a Japanese documentary that it is his favorite of all the songs he’s written. He has performed an instrumental version at concerts. According to Cash Box, on June 2, 1973, “Yesterday Once More” was the highest-debuting single at No. 71. By August 4, it had reached No. 1.
(c) 1973 by Almo Music Corporation / Hammer and Nails Music, USA
“Sing” (2013Aug27)
Words & Music by Joe Raposo.
From Wikipedia, the free encyclopedia:
“Sing” is a popular song created for Sesame Street that gained popularity when performed by The Carpenters, who made it a #3 hit on the Billboard Hot 100 chart in 1973.
“Sing” was written by Joe Raposo, the staff songwriter for the popular children’s TV show Sesame Street. In its initial appearance, the song was sung by adult human cast member, and Muppets, including Big Bird. “The Kids” sang “Sing” for The Sesame Street Book & Record, a recording re-released on the 2003 Songs from the Street CD set.
Karen and Richard Carpenter heard the song for the first time as guests on ABC television special Robert Young with the Young in 1973. The Carpenters loved the song and said in retrospect that they knew it would “be a hit”. Their associates thought they were “nuts”.
The song acted as their debut single from the LP album Now & Then, released in 1973. “Sing” reached number three on the Billboard Hot 100 chart and number-one on the easy listening chart, and it became the group’s seventh gold single.
Their recording of the song was produced and arranged by Richard Carpenter, and engineered by Ray Gerhardt. The lead vocal was sung by Karen Carpenter, with backing vocals by Karen and Richard Carpenter and the Jimmy Joyce Children’s Choir. Keyboards were by Richard Carpenter, bass by Joe Osborn, drums by Karen Carpenter, and recorders by Tom Scott. In 1974, while touring Japan, The Carpenters recorded their first live album in Osaka.
The album contained a new version of “Sing” with the children’s chorus sung by the Kyoto Children’s Choir. The song is featured on the album Live in Japan which was recorded in June 1974 and released in Japan only on March 7, 1975. This album has since been released on CD and is available as an import.
(c) 1971 by Jonico Music Corp., USA
All Rights Reserved
International Copyright Secured
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All the above has been cut and pasted
From Wikipedia, the free encyclopedia
Once again, many thanks to my cousin, Lisa, for the use of her photo of their 2006 Meridian-408 Motoryacht.
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.”
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]