Thursday, May 3, 2018
Saturday, December 16, 2017
Vinyl Revitalized
CD
recordings are running their course.
MP3
and digital downloads have been chipping away at the CD market for well over 10
years. Brick and mortar chains have substantially
reduced their CD inventories (e.g., Barnes& Nobles, Sam Goodies), or disappeared
into the ether (Border Books, Tower records).
Sure,
the internet creates downward pressure on store-based inventories across any industry,
across product lines.
But
music is different. If you don’t want to wait for Amazon to deliver a CD,
simply download everything electronically.
Don’t want the entire CD? Pick
your favorite tracks for immediate download gratification. (The same thing, via
pdf, is happening with sheet music).
But
Vinyl is back in a big way – revitalized and spinning its music in an analog, audio-format
many consider more natural to the human ear. Vinyl’s 12-inch platter, its ridged, groovy
look and feel is irresistibly nostalgic. And in comparison to CDs – it’s
download-proof.
SIDEBAR: Forbes noted that sales
for vinyl recordings had increased 260% between 2009 and 2015.
Yes,
your new turntable may provide an out-of-the-box, USB port with entry-level,
SoundForge software to help digitize your tightly held collection of 1970s
Nonesuch classical records. But why
bother transferring to digital when you can actually start - from the ground-up
- pre-ordering pianist, Seong-Jin Cho’s
recently produced, Debussy vinyl recordings. And by-the-way, Nonesuch, in fact, is back to
producing vinyl recordings.
New
vinyl recordings, however, are typically more expensive than CDs. They have
tighter inventories and provide a relatively smaller product catalogue,
suggesting an imbalance between supply and demand.
Having
spent time recently at Portrait
Recording Studios as part of an original CD project (please feel
free to sample a couple of new songs via ReverbNation),
I was advised that creating CDs is decidedly more cost effective a process than
vinyl recording production; especially when
converting a final recorded master from
digital to analog. In fact, pressing a
single record may cost up to $200.00 per side.
What’s more, vinyl manufacturing resources are still thin, and may
require a lead-time of 4-6 months to deliver. But, if you’re a recording artist who can’t
see his or her name in lights, the much larger album fonts, actual readable
liner notes- and increased real estate for graphics - are tempting.
None
of this is germane to vinyl fanatics, however, who may be throwing away Beatles
CDs, deleting MP3s and buying the newly re-pressed, Sgt Peppers album. (In fact, Paul McCartney never much cared for
the digital remastering of the early Beatle recordings, especially since added
clarity and track separation sometimes shined an unfavorable light on the execution
of harmonies).
True Nostalgia
But
seriously, with increased market adoption, there’s a good chance the music-buying-youth
of the world will finally understand, recognize and come to enjoy the many
extraneous sounds derived from putting needle to record. Consider just a few of
vinyl’s theatrically employed clichés for videos and commercials.
·
The sudden yanking
of the tone-arm,
scratching the record. (Often used
as a metaphor for interrupting an inadequate product/service or a “shut-up” to a
boring announcer or untruthful politician).
·
The ending,
non-audio record space that just scratches along . (Used
dramatically to indicate someone’s not home, dead-drunk - or just dead).
·
The skipping record (Used to
indicate inattentiveness, or for comic effect, as when the skipping record
interrupts some couch romance).
It
doesn’t get any more nostalgic than that.
Thursday, December 22, 2016
My 20 Best Trump Posts for 2016!
My plan was not only to cease posting humorous (and irritating), Facebook-Trump posts, but eradicate all existing FB posts after Hillary won the election.
But given the over-performing popular vote decidedly taking it up the canyon in California, plus the rust-belt, alarmingly between tetanus shots, I (as a Never-Trumpite), must now give my Timeline some breathing space, a chance to heal - and celebrate other less polemical, less combative creative efforts while emphasizing family pictures (preferably of me), and lots and lots of dog pictures of the Weimy persuasion.
 |
| Exotic, New Jersey Weimies. |
Which is all to say my Facebook Timeline has been utterly expurgated - not to mention decisively expunged - of all Trump commentary. For those of you who think I'm converting to complacency or have overdosed on Pepto Bismol, FEAR NOT!
For given that this is the time for end-of-year, Best-of-Lists, I am compelled to compile my favorite, 20 Best Trump Posts for 2016!, based on two major criteria:
- Stand alone comments only
- No comments (dozens!) associated with graphics or linked articles (Politico proved a constant inspiration - as did Trump).
1. July 11: I propose if Hillary Clinton loses the election, Donald Trump should move to Canada.
2. July 11: Y'know, if Trump hadn't existed, Rod Serling would have had to create him.
(The convention)
3. July 21: Hey TED CRUZ, GET A GRIP!! lot's of things are said in the heat of a primary campaign. Y'know, like your wife's too ugly to be a fashion model, you're an ineligible foreigner WHO CAN'T run for president - your Cuban father was a co-conspirator in the JFK assassination. Y'know like, just lighten up, will yer
4. July 21: Based on confidential sources, look tonight during Trump's acceptance speech for announcements on appointees for cabinet assignments - including BEN CARSON for the newly created post of EXORCISMS.
5. July 22: Mike Pence should swap roles with Scott Baio. What?! Too soon?
(The campaign)
6. August 2: Now that Trump is saying Hillary is the "Devil", I suppose the burden of proof is on her to produce a Terra Firma birth certificate.
(First debate)
7. September 26: #debatenight Latest instruction to audience: "Please refrain from sucker-punching the person next to you".
8. September 26: #debatenight Reportedly, Trump will accuse any Democratic Viagra users of having a rigged erection
(Second debate)
9. October 19: #debatenight And it's about to begin. Praying for commercial interruptions - and an appearance by Alec Baldwin.
(The Campaign)
10. November 6: As a sometime professional lyricist, I feel obliged to say "BLOW ME, COMEY!!"
(The 5 Stages of Grief)
11. November 9: #recount I DEMAND A RECOUNT!! Starting w/ half the voter's marbles.
12. November 9: Trump will probably be good for manufacturing, given how much he likes to make stuff-up.
13. November 10: Started #TrumpSings!, my new musical. Finished opening number, "The Birther of the Blues".
14. November 12: DONALD J. TRUMP & "PROFESSIONAL PROTESTORS" See? He's already creating jobs
15. November 12: JUST STOPPED AT BOTTLE KING. Thought I'd buy some Spanish wine before it's deported
16. November 12: PERSONALLY, I'M READY FOR AN INTERVENTION. Or as some people like to call it, mid-term elections.
17. November 12: OK, TIME FOR OPTIMISM! FOR EXAMPLE, "Draining the swamp in Washington" could be all about Trump's first EPA directive!
18. November 13: WAIT, WAIT, there's more! Based on his own experience, Trump will put in place ACCOST CONTROLS.
19. November 14: THIS JUST IN!!: GIVEN THE FAILURE TO PASS THE CASINO BILL IN NORTHERN JERSEY, TRUMP HAS STEPPED UP PROMOTION FOR OFF-TRACK RACE BAITING. (Believe me, it's true..it's true).
20. December 17:
Dear Santa,
Can I please have a new Precedent Elect with an off-button??
Your friend,
charlie
Friday, November 18, 2016
Re Re Re Revisiting THE BIG LEBOWSKI
 | |||
| L/R: Steve Buscemi, Jeff Bridges, John Goodman, John Tuturro, Sam Eliot |
How can you help but revisit
The
Big Lebowski? If
you’re blessed
(or afflicted), with the pseudo vastness of premium cable movie
channels, you surely encounter this Coen Brothers film with the
regularity of a Gesundheit.
And should you go beyond an entire two weeks without this film assuming
control of your Smart TV’s remote – fear not!
It’s been segmented and uploaded to YouTube where you can repeatedly watch the film's penultimate episode;
marked by John Goodman chewing–off Peter Stormare’s ear.
The Big Lebowski,
like all Coen Brothers creations (and I believe I’ve seen them all), is
eminently re-watchable. Repeated
viewings are not only individually rewarding (as well as inevitable), but
probably the reason the film has achieved cult status.
The
Coens (always sharing directing and writing duties), are quirky creators - sometimes
misguidedly so. But the brothers (even at
their darkest, i.e., Blood Simple, No Country for Old Men), are highly inventive and naturally flowing humorists. Nothing happens in their films by chance. What may sometimes seem like frivolous filler,
is actually organically motivated stuff and foundational to their story telling.
The Big Lebowski: is brilliantly cast and directed - but also driven by deceptively
smart character and plot development.
Since their first
films in the mid- 1980s, the Coen’s plot-credo has focused on every event –
small or large – as somehow an inexorable interconnection between fate and
human foibles. The Coens are Jews from
the Midwest, and at their core, seem to have a devotion to some divine spirit
that insists (despite best efforts), man is only capable of producing consistent
irony and adhering to the law of unintended consequences.
Plot:
"The Dude"
Lebowski, mistaken for a millionaire Lebowski, seeks restitution for his ruined
rug and enlists his bowling buddies to help get it. When approached for
reimbursement, the “millionaire” instead enlists Dude to recover his kidnapped
bride (at least 40 years his junior), and entrusts the dude with a valise full
of money for the ransom payoff.
But the ransom cash
is stolen from the back seat of Dude’s (Jeff bridges) car. His closest bowling
buddy Walter Sobchak (John Goodman), erroneously determines that the money was
stolen by a 12 year old.
Meanwhile, the crew
of kidnappers (the “Nihilists”, actually a Germanic, punk band fronted by a former
porno star and friend of the alleged kidnapped wife), have faked the kidnapping
and are actually in cahoots with the millionaire Lebowski’s young wife. But, she becomes bored with the entire scene,
and goes back to her millionaire husband who, as it turns out, never provided
any ransom cash to “The Dude” in the first place.
In between these events, the Dude’s apartment is inexplicitly trashed once again by the same thugs who first ruined his carpet and who refuse to believe he’s not the older millionaire Lebowski. Two additional sub-plots include the Big Lebowski’s daughter, Maude (Julianne Moore), who counsels The Dude and ultimately uses him as an unwitting participant in the conception of her child.
Some will find this
plot either unconventionally flat, or then again, off the charts. In retrospect
(and considering “The Dude’s” character attributes), the story feels like it’s
being shaped under the influence. Which
is about right, as “The Dude”- even in middle age - is the ultimate
stoner.
The plot feels almost Seinfeldian in its diffusing of what should be major plot points. But at the end, there is no kidnapping, no ransom money, no theft of the ransom money – and no bowling tournament, which probably is the most important thing Dude, Walter and Donnie care about. Donnie (Steve Buscemi), a soft and thinly spoken bowling buddy, who essentially demurs and is just along for the ride, suffers a fatal heart attack when he, Dude and Walter are confronted by the three “Nihilists” - demanding the nonexistent ransom money - for the nonexistent kidnap victim- settle for pocket money. But who are then viciously (though comically), dispatched by Walter. Donnie’s understated death scene provides a quiet and contrasting irony compared to the misapplied blunder-bust of every other character.
Characters:
The Dude and Walter Sobchak
“The Dude” is several
decibels below passive-aggressive and favors most any path of least resistance. He enjoys not working, frequent pot usage and
poceses an uncanny ability to find himself in most any environment capable of
supplying White Russians (an amusing running gag, throughout).
 |
| Jeff Bridges owns"The Dude" (Almost as much as "The Dude" now owns him). |
But throughout the
film, his sole objective is the replacement and repair of his ruined Oriental rug.
Everything else is a highly vexing inconvenient impediment to that end.
Underachieving is the
Dude’s philosophy of life. He has long ago adopted a “get along-go along” point-of-view.
Even when threatened in the parking lot
of his favorite bowling alley, he’s happy to offer the Three Nihilists (alleged
kidnappers), four dollars in lieu of a multi-million dollar ransom payday.
Walter, on the other
hand is not only all-in, but grossly over-committed. A veteran of Vietnam, his
experience and gung-ho patriotism informs every point-of-view and every
emotion. When descending upon the home
of a recalcitrant 12-year-old who refuses to confess to stealing the ransom
money (which he didn’t), Walter decides the kid has used his ill-gotten gains
to buy a flashy, red sports car parked
in front of his parent’s home (which he hasn’t), and impulsively pulverizes the
vehicle with a wooden baseball bat. An act of vengeance interrupted by the
kid’s next door neighbor who reciprocates by bashing the Dude’s dilapidated
wreck of a car.
This scene is
preceded by the Dude insisting Walter join him for the kid’s interrogation
about the ‘stolen’ ransom money. Walter angrily protests leaving his house as
it’s the beginning of Shabbat.
“Hey man, you’re not
even Jewish. You’re Polish Catholic, or something”, the Dude annoyingly points
out
Walter, remembering
his Jewish, ex-wife, is incensed. “Listen, you
just don’t stop being something!”
The film’s one big
catharsis (at least for Walter), occurs when Walter aggressively defends the
Dude, Donnie – and all things American – against the three Nihilists. The parking lot of their bowling alley as his
battlefield, Walter becomes the aggressor, pitching his bowling ball into the
chest of one attacker, knocking unconscious another, and biting the ear off the
leader.
The Big Lebowski may
at first seem convoluted entertainment. But ultimately, it’s a film whose
repeated viewing provokes more thoughts – and new laughs.
Tuesday, May 31, 2016
Circus Vibes - from "Scenes without Words"
"Circus Vibes" on YouTube.
"Scenes without Words" is about four descriptive pieces for three instruments - each one named after something popular, or at least theatrical, the exception being "Carl Churning Rides Again". (Please don't ask. I can't even fully explain the reference. It's title seemed right, yet impulsive - but nonetheless intuitive. Whatever..)
So too with "Circus Vibes" (no. 1), which found its title when I realized one of the early themes resembled "Entry of the Gladiators" (also known as "Thunder and Blazes").
Once again, the performers are:
Performers:
Piano: Warren Helms
Violin: Amy Hamilton-Soto
Cello: Amy Butler Visscher
Saturday, May 21, 2016
A Homage Nina Simone
A Homage Nina Simone
"a Homage Nina Simone" is the third of four chamber pieces I've written, grouped under the title "Scenes without Words". Others pieces include 1. "Circus Vibes", 2. "Dickens and Nelly" and 4. "Carl Churning Rides Again".
"Homage" was titled after I had begun its composition, inspired by the versatility of Nina Simone, the African American artist and civil rights activist. She began her musical life as a classical pianist and singer of church gospel music, followed by folk, blues, and later jazz and popular music
The work attempts to suggest that sense of eclecticism.
Performers:
Piano: Warren Helms
Violin: Amy Hamilton-Soto
Cello: Amy Butler Visscher
https://youtu.be/RXsrsmbR5Qo
I can be contacted at Charlie@charlesgreenbergmusic.com
Tuesday, March 29, 2016
Five Categorical Reasons Why Wrong Notes Occur in Piano Recitals.
While sharing a few beers with my buddy Louis C. Monteverdi a couple of weeks ago, we started (somewhat ruefully), discussing the phenomena of wrong notes in classical piano playing.
Now, please keep in
mind, we’re discussing the great classical piano repertoire - by and of the
masters. Perfect, peerless, and at times,
ludicrously difficult stuff that is nonetheless, very well-known and highly well-thought
of.
“Very well known”
despite decades– nay centuries!- of tumultuously tortured renditions. As the
night wore on, Louis and I formulated that
each and every great piece is itself accompanied in a parallel universe, a
meta-layer, a Superman Bizzaro World, if you will – by its wrong-note doppelganger;
a desperate twin of perfectly formulated wrong notes.
Why does this have to
happen? Do we need background checks
before the average Joe can even purchase a piano? But given the Jerry Lee lewis factor, maybe
it’s just a question of better securing the printed music.
But I digress. Somewhere between the Tequilas and the
Buffalo-Wings, Louis and I ultimately came up with Five Categorical Reasons Why Wrong Notes Occur in Piano Recitals. (By
the way, to make things sporting, we decided to exclude rampant
performance nerves and memory lapses).
- “The Flub! The flub is the fart-in-church, so to speak. It’s unpredictable and indiscriminate. The greatest pianists know it well- and the much lesser ones could give a flying flub. In other words, “flubs happen”.
- “The Learned Wrong Note” This doesn’t happen on the fly (as with “The Flub”). This is much more organic, attributable to poor training and a potentially lethal build-up of ear wax. “Can’t you hear that’s wrong?”, the pianist coach might say. But then there are very early recordings of “great” pianists who evidently adopted wrong notes as part of their own unique styles and interpretations. Not to call anyone out in particular, but check out the first decade of 20th century piano recordings (or rolls) of Vladimir de Pachmann.
- "The Risk Taker” Yes, not all tempos are created equal. You were all set to perform Chopin’s Ballad in G minor, ‘all set’ that is, until you decided you would kick butt in the coda by bombastically and exponentially making it so fast you finally wished they had prematurely closed the curtains and turned off the lights. Aww, and it was your last piece on the program! Well, there goes your encore of that sweet little – and oh so much easier - Schubert, Moments Musicaux.
- "The Technically Outmatched” The cliché is, “don’t bring a knife to a gun fight”. And then there’s” 'Tis better to have loved and lost than never to have loved at all”. But if the masterwork is a heavy weight- and you’re a welter weight- then it’s best to wait- and come fight another day.
- “Out-of-Focus” No, this is not about memory lapses. This is about your parents, your significant other, or the old geezer who dozed off – all sitting in the first row. And don’t forget the cell phone lady who’s really distracting you. I mean, for god’s sake! You’re trying to barrel through the piano transcription of Stravinsky’s” Petrushka’ and she’s playing Words with Friends. Damn, there goes another marred dissonance!
You really suck, cellphone lady. You really suck!
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