Thanks, GOP   (2016Oct28)

Friday, October 28, 2016                                         2:43 PM

Ten days left in the election and the FBI announces it’s re-opening its investigation into Hillary’s emails. That doesn’t seem the least bit partisan, does it? It seems Hillary Clinton did not break the law by using a private server—so they have to go after her for misusing her private server. And even that didn’t turn up any great catastrophe—so they had to let it go. Now, they’re just messing around, trying to throw cold water on her campaign at the last minute. But, sure—the Democrats are rigging things.

Bernie said it best: “Can we just forget about the damn emails?” Hillary hasn’t been Secretary of State for four years now—if her private server was putting America at risk, it was then, not now. And no evidence has yet been produced showing she did anything seriously damaging, four years ago. Yes, we can keep looking into it—but it is old news, unless you have an undying desire to destroy Hillary Clinton. After all this time, and all this investigating, with no results—to re-open the case ten days before the election is pure politics.

But that’s par for the course of this election season. A disgusting egotist gets more respect than he deserves—and a fine leader gets mud thrown at her. Show me one decent thing that Trump has ever done—you can’t, because he’s lived a life of self-absorption. Now he wants to save America from itself—yeah, right. Did you hear him talking about ‘ghettos’ today? Yes, he’s seventy—hell, I’m sixty—I’ve heard the word—we used it (improperly) in the sixties. But nobody uses it now. See, Donald doesn’t get it—yes, anyone can become president—but only if you’re qualified to be president—otherwise, no sensible person would vote for you.

Lucky for Donald there are so few sensible people in this country. He’s still got a shot at this thing. Can you believe that? He should have never won the primary—Republicans, I’m talking to you. How did a TV entertainer out-campaign your best and brightest? How did you nominate possibly the only person who could lose to Hillary, after all the years of trash-talk you’ve all laid on her? With the media so eager to follow every red-herring you dream up about the ‘horrors of Hillary’, you’ve got most of the country seeing her as an evil witch, instead of the competent leader she actually is. Only one problem.

By turning your base into deluded crazies, you set the stage for this idiot. But he’s such an enormous douche that Hillary has a chance to climb out of the hole you’ve dug for her. I hope you’re happy. I know I will be, when Hillary takes the oath of office. Thanks, GOP.

 

P.S.  Hey, people are talking about a post-election revolution. Yeah, good luck with that. Plenty of Second Amendment folks are voting for Hillary—so if you start shooting, they’ll be shooting back, believe you me. And they are not cowards, afraid to let Muslims or Mexicans find a place in this great land—or afraid of you idiots, either. So come ahead—just remember, if you think ISIS is scary, you ain’t seen nothing yet.

*****

Okay—Now—today’s video includes a life-study that Claire drew last night. She’s really going to town on this art stuff. In the middle I put baby pictures from our new granddaughter. I also played a Rodgers & Hart cover: “Where or When” in the middle of improvising. So this is a kind of patchwork performance. Hope you like:

Pete and Joanna — In That Order    (2016Sep15)

Thursday, September 15, 2016                                        6:50 PM

A long and productive day—Pete came by, we recorded most excellent musical diatribes, but he had to cut our visit short and return to the world from whence he came. Then Joanna came by to see Pete—moments too late, very frustrating—but she and I had a pleasant visit, at least. This time I remembered to take a picture:

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Today’s posts bring my total YouTube uploads to 2,005. Of those, 59 are videos of Pete Cianflone and me, collaborating together on improvisations and song covers. The audio-cassette archives of our 20th-century recordings are lost in the mists of time—after many years of pursuing separate paths, we resumed our monthly journey together in January, 2014. It’s all on YouTube: Pete n’Me playlist

I’ll grant you, it’s an uneven catalog (always with the caveat that the problems are all mine—Pete’s a professional who’s nice enough to indulge me) but as we’ve gone along, Pete has figured out an impossible trick—drumming for a pianist with no sense of rhythm. He always makes me sound better than I sound by myself—it’s really something. Today’s videos are a perfect example—no matter how badly I mess up, Pete keeps things going.

 

 

 

Well, it’s been a very busy week. I think I’ll go back to bed for a few days.

Thinking Of Swing   (2015Jul09)

Thursday, July 09, 2015                                           3:39 PM

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’ “:

“Seems Like Old Times”  Words and Music by  Carmen Lombardo & John Jacob Loeb (© 1946)

“Should I”  Music by Nacio Herb Brown (© 1929)

“Spring Is Here”  Words and Music by  Lorenz Hart & Richard Rodgers (© 1938)

“Stompin’ At The Savoy”  Music by Benny Goodman, Chick Web, & Edgar Sampson (© 1936)

“Street Scene”  Music by Alfred Newman (© 1933)

“Sunday In New York”  Words and Music by  Carroll Coates & Peter Nero

Four Squirrelly Videos   (2015May27)

Wednesday, May 27, 2015                                               8:25 PM

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

Spring Song

When the Spring is really greening

And the dog-flowers start to bloom

I can’t stand this crampy house.

I got to leave this musty room.

Outside, breezes float the pollen

And my nose begins to run

But it’s worth it for the freedom

And the warming of the sun.

Give me a Kleenex, baby

My nose in on the flow

Throw me a Kleenex, baby

I really got to blow.

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

Give me a Kleenex, baby

My nose in on the flow

Throw me a Kleenex, baby

I really got to blow.

 

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

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

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

Enjoy, please.

Randy In The Afternoon   (2015May23)

Saturday, May 23, 2015                                           9:46 AM

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

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

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

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

Saturday With Stevie (2015May16)

Saturday, May 16, 2015                                           10:56 PM

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

 

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

 

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

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

(“Gathering Manna in the Desert”)

Source Graphic courtesy of : The Rijksmuseum Website

 

“Sterrenkaart van de noordelijke sterrenhemel”, Carel Allard,

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

(“Star-Chart of the Northern Hemisphere”)

Source Graphic courtesy of : The Rijksmuseum Website

The Peter Cianflone Session   (2015May15)

Friday, May 15, 2015                                               3:52 PM

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

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

Here we go…

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

Two Covers Twice and Then Some (2015May10)

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

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

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

“Prayer in the Mosque”

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

“Pygmalion and Galatea”

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

More Gershwin   (2015Apr30)

Thursday, April 30, 2015                                        7:43 PM

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

 

Gershwin is Sweeping the Country   (2015Apr28)

Tuesday, April 28, 2015                                          2:35 PM

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

—**—

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

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

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

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

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

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

 

 

 

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Kern In Spring   (2015Apr18)

Saturday, April 18, 2015                                5:55 PM

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

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

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

 

Piano Covers from the Movies   (2015Apr15)

Wednesday, April 15, 2015                                    4:18 PM

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….

Three New Recordings (2015Apr14)

High School Daze   (2015Apr02)

Thursday, April 02, 2015                                          11:33 PM

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

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

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

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

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

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

 

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

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Day of Fools! (2015Apr01)

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

 

I went outside and photographed the spring flowers coming out:

20150401XD-Improv-AprilFools (8)

 

20150401XD-Improv-AprilFools (17)

 

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20150401XD-Improv-AprilFools (6)

 

20150401XD-Improv-AprilFools (3)

 

20150401XD-Improv-AprilFools (1)

 

20150401XD-Improv-AprilFools (10)

 

20150401XD-Improv-AprilFools (7)

Happy April Fool’s Day, everybody.

Another Fine Day   (2015Mar25)

Wednesday, March 25, 2015                                              11:29 PM

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

 

A Quiet Day   (2015Mar24)

Tuesday, March 24, 2015                                          10:38 PM

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

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

 

 

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

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

 

RP-T-1979-29_SMALLER

 

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

 

An Improv and Two Piano Covers   (2015Mar15)

Sunday, March 15, 2015                                  5:33 PM

 

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

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

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

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

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

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

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

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

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

Up the Irish!   (2015Mar07)

Friday, March 06, 2015                                    12:08 PM

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

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

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

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

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

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

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

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

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

Here they are, finally:

 

 

 

 

 

 

 

 

 

 

 

Hat Trick   (2015Mar01)

Sunday, March 01, 2015                                  3:50 PM

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

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

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

20150301XD-OrigDrawing_Bovine_AND_TShirt

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

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

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

20150301XD-OrigDrawing_GOPFairy(2)_wPoem

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

 

 

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

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20150227XD-HumltyIsFatal(SCAN)

Three Covers and Two Improvs   (2015Feb28)

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

 

Saturday, February 28, 2015                                     5:55 PM

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

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

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

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

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

 

 

 

 

 

 

 

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20150228XD-Rijk_WhalingGrndsArcticOcean_Storck_1699(SMALL)

 

20150228XD-Rijk_JunoThetisOceanus-Goltzius_Estius_1590(SMALL)

 

20150228XD-Rijk_ZeegodOceanus_Galle_1586(SMALL)

 

20150228XD-Rijk_OceanoNox_Lautrec_1895(SMALL)

The Wonderful Bongos of Oz   (2015Feb21)

Saturday, February 21, 2015                                     12:30 AM

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

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

 

 

 

 

 

Happy Valentine’s Day (2015Feb14)

Saturday, February 14, 2015                                     8:04 PM

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

 

 

 

 

 

Russian Folk Songs (2015Feb09)

XperDunn plays Piano
February 9th, 2015

16 Russian Folk Songs
(Covers from the Russian Songbook)

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

 

 

 

and improv…

 

 

Blizzard Fail   (2015Jan27)

Tuesday, January 27, 2015                                        3:37 PM

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

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

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

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

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

 

 

 

 

 

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

20150127XD-Improv-BlizzardFail (1)

 

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20150127XD-Improv-BlizzardFail (4)

 

20150127XD-Improv-BlizzardFail (12)

 

20150127XD-Improv-BlizzardFail (14)

 

20150127XD-Improv-BlizzardFail (16)

 

20150127XD-Improv-BlizzardFail (18)

 

20150127XD-Improv-BlizzardFail (20)

Aliens In Winter (2015Jan19)

20150119XD-POEM_WinterHasARight

 

 

 

-Thus endeth the lesson.

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

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

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

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

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

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

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

O–and two more videos:

 

On Statesmen and Business Leaders (2015Jan15)

Thursday, January 15, 2015                             8:49 PM

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

 

 

 

 

On Statesmen and Business Leaders

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

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

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

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

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

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

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

Holiday Pete-ness ! (2014Dec30)

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

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

 

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

 

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

 

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

 

 

 

 

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

Christmas Coming Out My Ears (2014Dec20)

 

 

 

Your Choice (2014Dec14)

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

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

 

 

 

 

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

Chapter Seven

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More Xmas Music (2014Dec05)

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

 

Then I played a silly little pavanne…

 

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

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

 

 

 

 

 

A Seasonal, Regional Song (2014Dec03)

 

This is one of my favorite songs for Xmas:

 

And here’s an Improv to go with it:

 

Hope you like’em…

Political Arrangements! (2014Nov18)

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

 

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

 

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

 

Thanks For Your Service (2014Nov11)

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

Weekend’s End (2014Nov09)

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

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

 

Freshly Tuned (2014Nov06)

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

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

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

 

 

 

 

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Pete’s Back! (2014Nov05)

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

 

Something Different (2014Oct28)

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

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

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

 

 

 

My Turn To Talk (2014Oct24)

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Friday, October 24, 2014                     4:50 PM

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

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

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

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

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

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

 

 

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

 

Booked Into the Awesome Suite   (2014Oct22)

Wednesday, October 22, 2014            11:41 AM

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

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

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

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

 

 

 

 

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

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

My early-morning, throat-clearing session:

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

Sonnet IV

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

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

Sonnet V

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

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

Sonnet VI

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

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

 

 

Crispy Day (2014Oct19)

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

 

 

Then there’s this mess….

 

 

And here’s some pics of the yard….

 

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

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

 

 

 

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

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

 

 

Then I attempted a couple of song covers:

 

 

 

Tricks of the Trade (2014Sep13)

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Saturday, September 13, 2014                         11:07 PM

Click to Play: Bombastico II

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

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

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

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

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

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

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

April Fools  Improv No. 2

April Fools Improv No. 2

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

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I Think I’ll Quit Facebook (2014Aug21)

Wednesday, August 20, 2014                10:14 PM

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

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

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

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

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

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

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

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

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

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

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

Click picture above to hear Playlist..

Click picture above to hear Playlist..

 

Love or the Patriot Act (2014Aug15)

 

 

 

 

Thursday, August 14, 2014                  3:11 PM

 

Love or the Patriot Act

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

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Four More (2014Aug08)

Here they are:

 

 

 

 

 

 

 

Hope you liked them!

Lazy Dreamer (2014Jul08)

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

 

 

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

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

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

 

 

 

 

 

 

 

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

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

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

 

 

 

 

 

Hope you liked it!

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

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

 

The flowers are still showing off.

 

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

 

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

 

And here’s the stills:

 

 

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Th-th-that’s all, Folks!

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

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

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

 

 

 

 

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

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Five Spot for (2014Mar26)

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

Three Songs And An Improvisation (2014Feb12)

 

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XperDunn plays Piano
February 12th, 2014

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

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[From Wikipedia, the free encyclopedia]

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

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

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

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

In 2008, the song was inducted into the Grammy Hall of Fame. It also received a Best Song nomination in the 1968 Academy Awards.
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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

Four by Three (2014Jan29)

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

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

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

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

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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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Graphics Explosion

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

GRAPHICS:

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

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

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

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Glad To Be Unhappy

“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”:

http://www.youtube.com/watch?v=HatwnJH9De4

and Lou Christie’s  “Painter”  borrowed another melody from classical music – this time from Puccini’s opera “Madame Butterfly”:

http://www.youtube.com/watch?v=SVRvuExNv9M

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.

A Song, An Improv, & An “Are You Dunn?” Addendum….

A Song,

An Improv,

& An “Are You Dunn?” Addendum….

click to Play my YouTube Video

XperDunn plays Piano
August 25th, 2013

Cover of the Carpenters’ single, “Goodbye to Love”.

From Wikipedia, the free encyclopedia

[“Goodbye to Love” : Single by The Carpenters from the album “A Song for You”, Released on June 19, 1972, Label A&M #1367 / Writer(s) Richard Carpenter; John Bettis / Producer Jack Daugherty

“Goodbye to Love” is a song composed by Richard Carpenter and John Bettis. It was released by The Carpenters in 1972. On the “Close to You: Remembering The Carpenters” documentary, Tony Peluso stated that this was one of the first, if not the first, love ballads to have a fuzz guitar solo.

While visiting London, he saw a 1940 Bing Crosby film called “Rhythm on the River”. Richard Carpenter noticed that the characters kept referring to the struggling songwriter’s greatest composition, “Goodbye to Love”. He says, ‘You never hear it in the movie, they just keep referring to it,’ and he immediately envisioned the tune and lyrics starting with:
I’ll say goodbye to love
No one ever cared if I should live or die.
Time and time again the chance for
Love has passed me by…

He said that while the melody in his head kept going, the lyrics stopped “because I’m not a lyricist”. He completed the rest of his arrangement upon his return to the USA.]
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click to Play my YouTube Video

XperDunn plays Piano
August 25th, 2013

Improv – Goobers
(music fades out instead of ending–the result of a dead battery-sorry.)

Start and End Cards source: http://www.winslowhomer.org/hound-and-hunter.jsp

Homer’s watercolor sketch for Hound and Hunter showed, lying behind the boy, a rifle that the artist later painted out. When this final canvas was exhibited in 1892, its subject was condemned as a cruel sport then practiced in the Adirondacks. Some viewers believed the youth was drowning the deer to save ammunition. The artist curtly responded, “The critics may think that that deer is alive but he is not—otherwise the boat and man would be knocked high and dry.”

To clarify that the stag is already dead and no longer struggling, however, Homer did repaint the churning water to hide more of the animal. The hunter, therefore, simply ties up a heavy load, calling off the hound so it will not jump into the boat and swamp it.

Homer once asked a museum curator:
“Did you notice the boy’s hands—all sunburnt; the wrists somewhat sunburnt, but not as brown as his hands; and the bit of forearm where his sleeve is pulled back not sunburnt at all? I spent more than a week painting those hands.”
——————————————

Sunday, August 25, 2013            4:06 PM

“Are You Done?” (Cont’d):

I am aware that the previous ‘essay’ (if I may use that word) was both ludicrous and without any substantive ideas for moving forward. I think one point I attempted to make is that People have to wake up to the very powerful forces being arrayed against them at present. And that civil-rights-oriented and community-activity-oriented crowd-sourcing is a very promising new tool that we can either use or have used against us—our choice.

The other point, the main idea I wished to illustrate, was that individuals are wooed by many associations and organizations, including political parties, multi-national corporate giants, and banks—and that the only organization intended for our own self-interest, the federal government, being so wrapped up by capitalized and specialized interests, has ceased to perform that function. And that leaves us with only two choices.

We either have to wrest control of our government back towards the protection of civil rights and the providing of social services, or we have to find some way to sidestep those ‘clogged arteries’ and create an organization outside of government. I had intended to mention, further, that such an organization, by virtue of the digital revolution, and what may be called the enhanced social conscience of our society here at the start of century twenty-one, would operate so much more efficiently, cost-effectively, and speedily that the existing government would be pulled along in its wake, so to speak.

Why do I see this issue in this way? That’s easy—because we have already learned that Authority is not a ‘God-given’ right, such as monarchs used to claim; neither is Authority a prerogative of the wealthy, such as the wealthy have been used to claiming; nor is dogma an Authority, as religious extremists persist in insisting. Authority is a necessary evil, plain and simple—someone has to be in charge to enable groups to create something greater than what they could do as a disorganized group of individuals.

And that greater creation, or ‘progress’, if you will, is always a source of Power to those in authority. Power is an addictive drug which no human has ever been immune to—thus authority inevitably changes its goal from a common good to an entitled elite who skim the cream of organized effort and (usually) begin to work counter to the original common good.

We have attempted, by democracy, by socialism, and by communism, to create a more perfect organization, to put in place checks and balances which restrain, as much as possible, the natural tendency towards corruption in authority, including favoritism, and elitism—but all have been overwhelmed by the constant pressure of those natural human drives. Unfortunately, authority has to reside with someone—so I won’t bother trying to invent a new system that partitions or restrains authority from abuse—it’s like trying to lift yourself by your own bootstraps.

And this is why I have no suggestions as to how to fix ourselves—human society has built-in structural flaws that prevent us from Utopia. The only thing we can hope for is that the Elite become ashamed enough of all the starvation and poverty that they eventually find a way to accommodate the millions of losers in the great game of capitalism. Or, for the truly optimistic, we can hope that our global society matures into something less of a dog pile than it’s always been, and is now. If I had a religion, that would be it—people starting to work just as hard to cooperate with each other as they do now to compete with each other.

A Busy Thursday

XperDunn plays Piano on August 15th, 2013    Improv – Concord Grapes:  NOTE: ‘Grapes’ graphic downloaded from https://www.facebook.com/oldmosswoman on 08/15/2013

Improv - Concord Grapes   (2013Aug15)

Improv – Concord Grapes (2013Aug15)

 

 

I fell asleep watching “The Big Wedding” last night, so I watched the end this morning. Great movie, BTW. Then I noticed that the End Credits music was a jazzy, personalized, “Row, Row, Row Your Boat” by a familiar-sounding female vocalist. So I waited for the music credits at the end (as I usually do) and saw that I was right–it was one of the cast singing, Christine Ebersole. I had never enjoyed “Row, Row, Row Your Boat” quite so much before, and she inspired me to do my own improv on the tune. While looking her up online, I found her husband’s, William J. Moloney’s, artwork, so I snagged it for my the Title screen of my video…

Improv - "Row, Row, Row Your Boat"   (2013Aug15)

Improv – “Row, Row, Row Your Boat” (2013Aug15)

 

Improv – “Row, Row, Row Your Boat” (2013Aug15)

NOTE: Christine Ebersole, winner of the 2007 Tony Award for Best Actress in a Musical, gave her all (talents-wise, that is) for her latest movie, “The Big Wedding”–during the end credits, Christine Ebersole (who plays ‘Muffin’ in the

film) sings her jazzy rendition of “Row, Row, Row Your Boat”, which inspired me to fiddle with it too…

In looking her up I learned she is married to William J. Moloney, a graphic artist–so I stole one of his collage images for the Titles and Credits cards! See the actual work of William J. Moloney [including Collage: “Love’s Oasis”]

at williamjmoloneyDOTcom.
——————————————
XperDunn plays Piano August 15th, 2013 – Three (3) by George and Ira Gershwin-   “Embraceable You”   “A Foggy Day”   &  “I’ve Got A Crush On You”:

"Embraceable You"/"A Foggy Day"/"I've Got A Crush On You"

“Embraceable You”/”A Foggy Day”/”I’ve Got A Crush On You”

XperDunn plays Piano
August 15th, 2013

Three (3) by George and Ira Gershwin:

——————————————
“Embraceable You” Music by George Gershwin Lyrics by Ira Gershwin

[From Wikipedia, the free encyclopedia:

“Embraceable You” is a popular song, with music by George Gershwin and lyrics by Ira Gershwin. The song was originally written in 1928 for an unpublished operetta named East is West.  It was eventually published in 1930 and included in the Broadway musical Girl Crazy. where it was performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire.  Billie Holiday’s 1944 recording was inducted into the Grammy Hall of Fame in 2005.]

——————————————
“A Foggy Day” Music by George Gershwin Lyrics by Ira Gershwin

From Wikipedia, the free encyclopedia:

[“A Foggy Day” is a song composed by George Gershwin, with lyrics by Ira Gershwin, introduced by Fred Astaire in the 1937 film A Damsel in Distress. It was originally titled “A Foggy Day (In London Town)”, and is often still referred to as such. {I have mislabeled it here on the video, as }”A Nightingale Sang in Berkeley Square”, a romantic British popular song written in 1939 with lyrics by Eric Maschwitz and music by Manning Sherwin. {Sorry for the confusion!}

Berkeley Square is a large leafy square in Mayfair, an expensive part of London. The Ritz Hotel referred to is also in Mayfair. With its sweet, wistful song the European Robin is a likely source of the legendary Nightingale, as birds, stimulated by the street lights, can often be heard singing in cities during the night.]

——————————————
“I’ve Got A Crush On You” Music by George Gershwin Lyrics by Ira Gershwin

From Wikipedia, the free encyclopedia:

[“I’ve Got a Crush on You” is a song composed by George Gershwin, with lyrics by Ira Gershwin. It is unique among Gershwin compositions in that it was used for two different Broadway productions, Treasure Girl (1928), and Strike Up the Band (1930).]

New Covers and Improvs

Improv-WingNut

Click to Watch ‘Wing Nut’

Click to watch "Help Me Rhonda"

Click to watch “Help Me Rhonda”

Click to watch 'Woo Hoo!'

Click to watch ‘Woo Hoo!’

20130723XD-Windy-TITLE

2 Song Covers: “Three Coins In The Fountain” & “Time On My Hands” (2013July16)

XperDunn plays Piano Covers – July 16th, 2013
Two (2) Songs: “Three Coins In The Fountain” & “Time On My Hands”

WIKI sez: “From Wikipedia, the free encyclopedia

“Time on My Hands” is a popular song with music by Vincent Youmans and lyrics by Harold Adamson and Mack Gordon, published in 1930. Introduced in the musical Smiles by Marilyn Miller and Paul Gregory. Sometimes also co-credited to Reginald Connelly.”

and WIKI also sez: “From Wikipedia, the free encyclopedia

“Three Coins in the Fountain” is a popular song which received the Academy Award for Best Original Song in 1954.[1]

The melody was written by Jule Styne, the lyrics by Sammy Cahn.[1] It was written for the romance film, Three Coins in the Fountain and refers to the act of throwing a coin into the Trevi Fountain in Rome while making a wish. Each of the film’s three stars performs this act.”

Cover: “There’s a Kind of Hush” (2013July16)

XperDunn plays Piano
July 16th, 2013

Cover: “There’s a Kind of Hush” (All Over The World Tonight)

“There’s a Kind of Hush” is a popular song written by Les Reed and Geoff Stephens which was a hit in 1967 for Herman’s Hermits and again in 1976 for the Carpenters.

[NOTE: The video says July 14th, but this was recorded on July 16th, 2013]

Some Music (2013July08)

Here are some song covers with lots of pretty pictures to look at:

20130708XD-paintings-romanc-lorelei

XperDunn plays Piano     July 7th, 2013

Three (3) Song Covers :    “I Think We’re Alone Now”    “If I Fell”    “Kansas City”

 

 

20130707XD-Improv-StarshipBlues(TITLE)

XperDunn plays Piano    July 7th, 2013    Improv – Starship Blues

 

 

20130707XD-Improv-SabbosGoy_Saul-Chernick

XperDunn plays Piano     July 7th, 2013       Improv – Sabbos Goy

 

20130706XD-Improv-WingDangIt

XperDunn plays Piano    July 6th, 2013      Improv – Wing Dang It

 

 

 

 

“Cute” and Three (3) More Songs, plus 2 Improvs

“Cute” and Three (3) More Songs

A painting of Napoleon by Jacques-Louis David

click for Songs

Click for Improv

Click for Improv

Click for Improv

Click for Improv

Here’s the paperwork on all the Songs in that first video:

“Cute” and Three(3) More Songs (2013June16)

Xper Dunn plays Piano
June 16th, 2013

“Cute” & 3 more songs

‘Cute’
Music by Neal Hefti
Words by Stanley Styne
[ (c) 1958 by Intl. Korwin Corp. ]

Sheet Music / Score Source:
Hal Leonard Piano/Vocal/Guitar Series
“More Top Jazz Standards”
[All rights reserved by: Hal Leonard Publishing Co.]

****

‘Ma Cherie Amour’
Words and Music by
Stevie Wonder, Sylvia Moy and Henry Cosby
[ (c) 1968 by Jobete Music. Black Bull Music. and Sawandi Music]

‘Quiet Nights of Quiet Stars’ (“Corcovado”)
English Words by Gene Lees
Original Words and Music by
Antonio Carlos Jobim
[ (c) 1962 by Antonio Carlos Jobim ]

‘People Got To Be Free’
Words and Music by
Felix Cavaliere and Edward Brigati, Jr.
[ (c) 1968 (renewed 1996) by EMI Jemaxal Music and Delicious Apple Music ]

Sheet Music / Score Sources:

Cherry Lane Music Company
“Great Songs Of The Sixties”
[distributed by Hal Leonard Corp.]

All images are from the Paintings of:

Jacques-Louis David;
French: (Aug. 30th, 1748-Dec. 29th, 1825)
[an influential French painter
in the Neoclassical style
and Napoleon Buonaparte’s
portrait-painter]

(c) MMXIII by Christopher Dunn

My ‘Self’ & Cole Porter (no relation) for June 6th, 2013 (D-Day’s 69th Anniversary)

I had to get all publicly-respectable-like to visit the transplant clinic for my check-up, so I’m not looking as scruffy as usual in these videos:

 

XperDunn plays Piano on June 6th, 2013 - Piano Improv - 'Self-Portrait'

XperDunn plays Piano on June 6th, 2013 – Piano Improv – ‘Self-Portrait’

 

Here’s one of my favorite Cole Porter songs…

 

XperDunn plays Piano June 6th, 2013 "Every Time We Say Goodbye" by Cole Porter

XperDunn plays Piano
June 6th, 2013
“Every Time We Say Goodbye” by Cole Porter

 

Well, here’s hoping you enjoy hearing these as much as I did playing them.

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