Merry Christmas Music Wishes

Hoping to listen to a lot of (non-study-or-academic-related) music in the next two months. I've already found some artists I'm really fascinated with but hoping to dig into even more of them.

Everything Miike Snow

Hooked. Plus I need some new electronic blood in my life. I definitely wore out the last Daft Punk album.

Everything Lianne La Havas 

Again, totally hooked.

Arctic Monkeys' latest album

I've heard two songs; one from early work, the other more recent. They're really interesting.

Beyonce's new album 

I need to figure out what all this fuss is about.

Godspeed You! Black Emperor

I've listened to them while studying for exams. But haven't paid much attention to what's going on.

Lady Gaga Artpop 

I mean c'mon. Applause is pretty weird and cool. The rest of the album has to be worth at least one go around. I know. I'm late to the party

A Great Big World 

Say Something gets some serious eye moisture going for me every single time I hear it. Gotta see what these two dudes are about.

Merry Christmas, Happy Holidays, Have a Prosperous New Year!

Girl from The Sun

It started with "Summertime Sadness." I didn't know it was a remix but I didn't care. Those lyrics and that voice; I was hooked. Lana del Rey is bringing originality to mainstream music. I love my repetitive, dirty, stupid pop music. But that stuff is like the process food of mainstream music.

Born to Die, del Rey's latest album, is good from beginning to end. Her words are like well-balanced IPA beer. It's got a hoppy bite;  raw, fresh, and a taste you can't easily get out of your mouth - nor would you want to. It is description, storytelling, and straight up wordsmithing the hell out of the English language:

My old man is a tough man. 
But he got a soul as sweet as blood red jam
And he shows me he knows me, every inch of my tar black soul 

Sweet lord, yes.

Her lyrics also remind me of some of rap's better artists. The expletives and seedy situations that feel essential rather than glib and authentic rather than contrived. Musically, she has a mix of classic rap too. Think dirty trash can drum sounds like Beastie Boys and Run DMC. And then there is an unmistakeable sound of The Western Frontier. The music of Aaron Copland would have you imagining Montana and the Dakotas... Expansive skies, rolling plains, mountains. Born to Die is deserted and reverberant. It emotes loneliness, deep, rusty colors, and long shadows of shanty towns at dusk. It's beautiful.

Lana del Rey's voice is my favorite aspect of her music. And, even though it is unique, it is reminiscent of one of my favorite singers of all time: Karen Carpenter. Lana has a chest voice that, when I close my eyes, sounds just like Carpenter. The way they slide to different notes, the way they pronounce words, the timbre too. The semblance is at times chilling. Just listen to the first five words of the album's first song also called "Born to Die." If you can't hear it, you might be crazy. Also listen to "Off to the Races" and "Video Games."

Besides her ghostly offerings, she invokes many other vocal styles: Gwen Stefani, wiry-voiced cabaret singers. And there's even something secretive and devious in a voice del Rey uses often on the album that reminds me of Marilyn Monroe singing "I Wanna Be Loved By You."

The girl has pipes and she's got the style to know how to use them.

Listen. Now.

Wait, What?

I've lived in Arkansas for a little bit over a year now. As far as football is concerned, I expected a world of change once I got here. I heard all about the SEC before I even got here: tradition was a word thrown around a lot, the rabid fandom, the intense competition. Since I've been in SEC country, the reputation preceding my arrival is still more of a fantasy than it is a reality; at least that is the case with the Razorbacks. Though, I sincerely hope Bret Bielema turns it around here. With all that said, it's safe to say I'm not going to be a diehard fan of SEC football. I respect it and I'll cheer on the Hogs. But I'm a B1G Boy. There is something I've learned here, though. Something I greatly desire as a Wolverine, as an all around supporter of the Big Ten Conference.

Consistency.

There is just something so consistent about the top dogs in the SEC. I'm not talking Razorbacks or UK Wildcats. I'm talking Bama, Missouri, Texas A&M... And I'm not even really talking about wins and losses. I'm talking performance on the field and knowing what team is going to show up. Some of the top teams of the SEC have experienced losses, upsetting ones. It's because they get out played, however.  B1G top dogs look like Pomeranians. We don't get out played, we succumb to self-induced hysteria and, dare I say, ineptitude.

Let's do a fun little connect the dots game, starting with my team. The Michigan that I watched play Notre Dame looked tough. Offensive line protected the QB. The quarter back was on point. Defensive line did a wonderful job. That's the last time during this season that I ever saw Michigan play with an offense and a defense that were on the same page. And, I say this cautiously since it seems like the picks thrown at this game were just a sample of the COSTCO sized quantity to be ordered up later in the season.

Michigan v UConn. Obvious disaster. Michigan wins in scathe and shame, only to retroactively be embarrassed when UConn is wrecked by one of college football's lowest achieving teams (Buffalo Towson). In conference play, I offer you the Michigan - Indiana game. Defense lets 47 points go by. FORTY SEVEN POINTS. Was the Defense asleep? I was asleep, literally speaking. Got made fun of for the rest of the night... On the other hand, Devin (Head Case) Gardner breaks a school record? And if you don't like the phrase "head case," I'm dying to be proved wrong. Seriously, I don't even know what I would do if I was wrong. But the fact is he's unpredictable for a reason that no one has been able to resolve.

Indiana terrified Penn State with a win, as Michigan later loses to Penn State in a battle of who could make the worst coaching decisions. Northwestern takes on TOSU* like champs for 7/8 of the football game and then makes The Nuts look like a great football team at the end. TOSU was the same "powerhouse," top 5 school that, through much labor, struggled to lay down Wisconsin.

Northwestern's loss to TOSU was all a big foreshadow to the massive failure against a team named after an animal that dies often from heart attacks (Gophers). Meanwhile, Michigan State is still watching Youtube videos to learn how to get an offensive touchdown. And as I live and breathe, trying to understand our very mixed up world, Minnesota is poised to embarrass the hell out of Nebraska - the supposed sleeping giant of the B1G.

I'm not turning on my people. I never will. I just can't take being called "The Cupcake Big Ten," with literally nothing valid to say back. It would be nice if the stars of this conference played to their potential and not their fears. Just give me some consistency. Stop playing down to the talent (or lack there of) before you. I'm rooting for you. Millions of us are. But what you're doing is not working. Take your scholarships and millions of dollars in salaries and figure this out. We look very small, very sweet, and very uninterested in sitting at the table with the big boys. If you're going to keep living up to this cupcake persona, you're going to get eaten.

*And that's why you shouldn't call yourself THE Ohio State University. It looks really stupid. 

Good Eats In Arkansas

Went out with a friend of mine to a place that made me feel like I wasn't in (Ar)kansas anymore. It is a restaurant-hotel-museum combination. The museum makes it sound a little gimmicky but believe me when I tell you that this is far from any kitschy Applebee's (gross) or wax museum (creepy) you've ever been to. This is a whole new and awesome world.

21c Museum Hotel's newest location is in Bentonville, Arkansas (just north of Fayetteville). This modest chain has two other locations in Cincinnati and Louisville (KY), with an unfinished development in Lexington (KY). When I stepped inside the Bentonville location, I instantly felt transported to a cosmopolitan center of The States. It has an urban feeling; reads like an NYC loft gallery with brick, wood, and huge windows everywhere. The museum permeates throughout the entire space, from the dining room to the showrooms featuring artists' installations to the fitness room used by hotel guests. I won't tell you how it works but there are also lots of penguins; green ones. It's pretty cool.

The Hive (name of the restaurant) has attentive and knowledgable service staff. The server convinced me to order the grilled pork chop entree. I had not a single regret as I finished my last bite. The presentation lacked the over-sophistication one might expect at a nicer restaurant. This was what I loved most about my dining experience. Sometimes a plate will come to the table and be so fancy-looking that you question whether or not you know how to feed yourself. Not the vibe here. Unassuming, totally chill. The pork chop was smoky and tender. The cranberry beans, zucchini, and peaches balanced out the summer taste of the pork's smokiness. It was soooo good.

Altogether, I'll be back. And soon.

The art gives the restaurant more quirk than Zooey Deschanel but without making you feel worn out. It's great. There are some neat surprises during the meal and at the end of it. Plus you can walk off your food baby by seeing some pretty bad ass art. Attire is casual but jeans and a nice shirt is okay too. And make sure to order some bourbon; the selection is nice and the drinks are perfectly strong.

But We Can: Johnny Manziel, Big Business, Ethics

I'm still all sudsy from my last diatribe about Miley Cyrus reactions...

Today, I'm really confused about the Johnny Manziel NCAA case as it pertains to the fairness of rules. In my previous post I questioned the racial relationship between outrage over Miley Cyrus and the lack of it for pretty much every other black female doing the same thing in the pop music industry (pop, hip hop, and rap alike). I think it's difficult to say what's going on. But if anything is clear, it's that there is an acrid insincerity present in how these situations are viewed and handled when it comes to rules societal (or organizational in Manziel's case).

I am amazed at the discussions and consequent decisions surrounding Johnny Manziel's investigation. Cliff notes version: The Texas A&M quarterback was being investigated for signing autographs in exchange for money. The problem is that NCAA rules do not allow athletes to receive money, gifts, or services for any reason associated with that athlete's association with their college team.

I believe that Johnny Manziel's case decision was too soft based on the current NCAA rules. That's the stubborn pragmatist in me. But I truly question the concept that it should even be considered a big deal in the matter of what is right or just. So what if a kid makes 10K in autographs? A lot of people our age have never seen money like that. Manziel may have, since his family isn't doing too shabby. Maybe it's the reason he got off so easy? Needless to say I've never seen a couple grand for signing my name. Reggie Bush hadn't. Terrelle Pryor never had seen money like that. Neither did Chris Webber. And these are young men we're talking about. Kids thrust into a world of fandom and celebrity that is incredibly overwhelming. These athletes are big deals. You stick them in a totally surreal situation and they are to resist the temptation to do better for themselves? And for what? The team?

College sports is so beyond the team.

"The team" could have been a legitimate argument 50 years ago. But teams are brands now. They're franchises, entities, corporations. These players aren't student athletes. They're athletes who go to school. You can tap dance around it however you want but that's the reality of college sports.

I think the entire issue of college athlete compensation needs to be reexamined and adjusted. Entertaining athletic stipends, allowing personal profit, etc. is a slippery slope. But the reality is that colleges make MILLIONS off these players and their images, literally:

That's Denard Robinson, former Michigan quarterback. Did he get money for this?

Nope.



The insincerity is in the message of the NCAA's rules. You cannot profit off of yourself, your hard work, your talents, your image, your name.


But we can.


Schools make tons of money on jersey sales, concessions, seats sold ($294 is average price for Notre Dame football ticket!), pictures, advertisements, twitter hashtags... the list goes on. And the player gets a degree? Degrees are great. I have one. From an awesome school too. But so do millions of other folks. These athletes do what millions of others can't do. Thus, something about this equation is just wrong. Recent laws guarantee players continuance of scholarship for those injured during activities related to their sport. That's about it. Yet it's entirely normal for big profit college sports to recruit students that wouldn't normally be able to get into some of the institutions they play for. That is, if it weren't for their athletic prowess. And while big name schools have made a concerted effort to individually tailor these players' academic paths for success later, the system often leaves these guys (and girls) high and dry. Of course there are plenty of highly qualified athletes that intellectually meet the standards for attending these schools. It's just that not every football and basketball player is a high achieving neurology major or pre-law student. But it is convenient for announcers and schools to highlight these kinds of players often.

So if the real concern is about players being distracted and fear of discord between teammates, then stop selling jerseys with their names on it. Stop putting their pictures on covers for video games and billboards. Stop deifying them. Quit making them celebrities. And if you refuse, get your scruples together and guarantee them something for their work besides a degree. Their work on the fields and courts isn't earning them good grades. But it sure does get them beat up. Guarantee them that all those concussions they get will be taken care of even after they're done playing for a team. The NFL just settled on a $765 Million resolution like this today. How about a graduation package, with real money, as a humble and deserved "thank you" and a head start for the real world?

Manziel-esque "scandals" have repeated over the decades to various degrees. They will continue to repeat. Yet no one has stood up against the Goliath that is the NCAA. The NCAA needs to handle its business before someone handles it for them. Every Goliath falls.

What Does the Future Sound Like?

As I'm getting into teaching more, I've been trying to incorporate technology into my practices. I use speakers, iTunes, video practice aids, Google sharing yada yada... But what about the bigger picture? The further we press on into this lifetime, the more unclear the relationship becomes between music and computer technology.

It started with music recordings, even before iTunes. Buying records. Then tapes, then CDs, all the way to iTunes 99 cent songs. Now most pop artists make their money on tour sales and merchandise than actual albums.

So what about us classical musicians? Most of us have never seen the day when Tubby the Tuba was topping the charts for record sales. Many of us only know what records are because of thrift shops. (Isn't there a song about those?)

Will the momentum of the digital age carry us to a place where it's normal for our performances to sound like this?  Streaming Internet Used to Play a Duet Between Performers

And if so, what kind of help or harm will this do to our fragile state?

The Metropolitan Opera has already ventured into this virtual world by broadcasting live performances at premiere movie theaters across the country. For a fraction of the cost (approximately $20) and all the latest audio advances at your disposal, you can experience world class art almost at the instant it happens. Educational institutions across the nation are now integrating this idea into their music programs. The University of Arkansas does it for every band concert it puts on.

Of course that brings me back to teaching. More and more people, even ones I know, are exploring the idea of providing private lessons via the internet. It started with Youtube and its seemingly endless database of regular people showing and teaching others how to do things such as cook, change oil in a car, tie a bow tie, etc. But now you can learn how to sing, to play guitar. Even still, with faster internet connections, live lessons over Skype and Google Video Chat are becoming common. There are even specialized websites (here too, and article on subject here) dedicated to the study of instruments with professional musicians as internet teachers. Music programs are suffering all over our Nation's school systems. Reasonably, music could be the next technological frontier. It seems extreme but in many states a student can complete high school courses almost entirely online. Of course, there would have to be real people teaching these courses. But what would the cost for that be? Cheaper labor? Higher quality learning? Less effective teaching?

On the one hand, the accessibility of all this is great. As internet connections move toward a ubiquitous reality, those who may not have geographical access to certain educational opportunities can increase their knowledge.

Music should be enjoyed by everyone. I believe that.

But as this digital force becomes more permanent, what is the trade off? Is the reaction an era of music with a distinct sound created by the lack of human connections? Does it feel colder or less connected?Don't get me wrong, talking with my mom over Skype is great since we live thousands of miles apart. But it's not the same as a hug. This concept is likely true when involving music in many of its facets (teaching, learning, performing). Yet brilliant musicians have seemed to achieve an element of humanity and authenticity using the very thing that simultaneously unites and divides us:


This is the Youtube Symphony's Grand Finale performance. It launched a project in which musicians auditioned by submitting videos. They eventually met in Sydney Australia to perform and rehearse together, lead by one of classical musics well-respected conductors, Michael Tilson Thomas (San Fransisco Symphony).

A more extreme example involves a project called Virtual Choir. It is the brainchild of Eric Whitacre (composer). He uses voices from around the world to create a completely original performance experience. Whitacre combines visual technology with masterful sound mixing with his own compositions.

An extremely, crazy, ridiculous example comes from the Coachella Festival in April 2012. Tupac Shakur, one of raps greatest artists, is resurrected. The hologram was made presumably using samples of the rappers voice but it was also programmed to interact with the other (living) rappers on stage for this "live" performance. The figures spent on this haunting project still remain secret but are estimated in the mid six-figure range:











We have to decide. What does the future sound like?

Miley Cyrus... I Don't Understand

Summer is basically over. I've been working a lot to get ready for school; teaching, practicing, reading... Then I hear from all these people I see everyday about Miley Cyrus. I had no idea what was so bad but I knew to be expecting something bad when I got to seeing it. So I watched it this morning...

Warning: This is a soapbox.



So I don't get it. That is, what is all this shock for? The video for her song is pretty scandalous to begin with. Then Robin Thicke (who I think is great) performs a song largely famous because it features topless women running around a video set for 5 minutes. Then to top it all off, the surprise appearance from 2 Chainz has about 20 girls on stage "twerking" (we called it popping in my day) in booty tight red jeans.

So why all the hate on Miley?

Is it because she used to be sweet? Is it only cool in the music video you watch but when it's live it's suddenly not? Is it because she's a white girl and her "disgusting actions" are something to only be expected and accepted from young black girls in rap videos and MTV VMA performances?  I'm not really sure what the answer to any of that is. But I have to wonder. I think everyone crying shock and disappointment ought to wonder. It is awfully disingenuous to be in shock about Miley Cyrus' performance if you've ever watched 5 minutes of MTV. The last Real World season I saw had a cast member offering a guy cast mate sexual favors on the 2nd episode. Besides this woman's or man's lack of tact or respect, MTV did little to make a viewers imagination work very hard. And that's because on some level, MTV has always been about what's new, what's edgy, what's salacious. MTV isn't PBS. Do you remember the show MTV show Undressed? How about Master P's Back That Thing Up? Come on, people! Nick Cannon has stuff to say, yet he's married to one of pop music's sex symbols... And she decided to get all sexed up long after her 20s. Just sayin. Brooklyn Decker is "too old for this sh*t" but she made her living posing seminude in magazines and on the covers of them.

I'm not saying that Cyrus' performance was some amazing piece of art. It wasn't. I'm not even saying it sounded good. Frankly, she's never been that great of a performer. But for Saturday Football tailgates and college parties, sure, she can bump through my speakers any day. For entertainment, she'll do. That's all it is. I just don't understand where this sudden and hard moral line has come from, both from celebrities and regular people alike. I mean, have you heard the words to Miley's song? It's about partying. What the hell else was a 20s something pop singer talking about when she said "we can love who we want to"?

Don't act brand new. You're not too old. You're not shocked. You're not even that confused. You're playing dumb.

The rules have to be the same for everyone. If it's really that bad, then good for you. Stop watching MTV. Otherwise, take your wishy washy morals somewhere else. Watch a music video at 4 in the morning. You'll wish that Miley Cyrus was the most "shocking" thing you saw.

Drive Baby, Drive

Doing a classic Michigander thing: Going Up North. Can't wait to get on a jet ski and relax away the next five days. Stuck on Brahms, Dionne Warwick, and Stars (coincidentally their album named North). Weird mix but it's doin it for me. 

Collard Greens: From Southern Cooking to Mainstream?

I was raised on collard greens, among other things. I just thought they tasted good. My mom cooked them because they were cheap. Now folks are saying that they're really good for you. Who would've thought?

Courtesy of Details Magazine

Move Over Kale: Why Major Chefs Are Adding Collard Greens To Their Menus: The Daily Details: Blog : Details

Against the Grain

I have a new Dallas Green cover (of City and Colour) on my website. The music is an original arrangement written and played by me; all vocals performed by myself as well. I'm not the best audio mixer... You might want some headphones or computer speakers.

Looking to record some music with tuba soon. Any pianists in town for some baroque fun?

Against the Grain Cover

Dallas Green has an awesome voice, sick writing skills too. Wish I could see him in concert but haven't had the chance yet. The original song:

Buddy Holly, A Torah, and Four Vampires Walk Into a Room...

On the recommendation of one of my very best friends (Brandon Murray), I listened to Vampire

Weekend for the first time in my life. Their new album, Modern Vampires of the City, is an aural collage so awesomely constructed of old things from many parts of the world. It is a masterpiece. It uses  music and religious concepts to create an entirely unique sound, vibe, and experience for the listener. To be clear, it is not a religious work, for those of you who are not familiar with Vampire Weekend. I've separated all these different sounds into separate talking points on this blog. But the truth is that these concepts all appear in endlessly exciting combinations throughout the album. It's almost overstimulating to listen to.

Some of the song titles are reference the Torah (Old Testament) with names like Don't Lie and Ya Hey (a play on the Hebrew title for God, Yahweh), while others have more subtle religious allusions (e.g. Everlasting Arms, Unbelievers, and Worship You). Given that the lead singer Ezra Koenig identifies strongly with the Jewish faith, it is not so surprising.

What I found more surprising was the musical and textual content of the album. In songs like Obvious Bicycle and Young Lion there are some strong similarities between the vocals and chant associated with ascetic ritual of some religions. In these songs the vocal lines stretch out syllables in slow melismatic contours. Combined with a lot of reverb and (sometimes) subtle choral accompaniment, suddenly you feel like you're in a great cathedral, temple, or synagogue. It's beautiful. Textually, Ya Hey is full of religious allusion, "Zion doesn't love you... Babylon don't love you." "I am that I am" is repeated in the chorus numerous times; this is a verse from Exodus 3:14 that Moses spoke to God. In the second verse, Ezra addresses God directly (is he supposed to be Moses?):

Oh, good God

The faithless they don't love you

The zealous hearts don't love you

And that's not gonna change

There's more stuff like like this all throughout the album. Clearly I find it fascinating but I won't go on being a geek. 

Well except for this: A blatant Baroque aesthetic shows up on the third track entitled Step. Pachelbel's famous Canon in D sequence serves as the harmonic foundation of the song even though Step transposes the sequence so that it is in B flat Major. The song is accompanied by choral voices (as are many in the album) and a harpsichord. There are also several songs heavily coated in the 50s rock tradition. Elements that put you in the mind of Buddy Holly and the Crickets (Peggy Sue). And of course, I mean the sound is more similar instrumentally than it is in vocal style. Diane Young and Finger Back are great examples of Vampire Weekend's eloquent stylistic quotations. There are some cool jazzy bass lines that you can find hidden in Hudson. And there are some songs hinting at drinking song/Gaelic folk, reggae, and something that just reminds me of Michael Jackson (like PYT Michael, not Thriller Michael).

Super cool.

This is a supreme example of artistry to me. Now, I've gotta go back to see what I've missed from these guys' past projects.

CauliMash

I haven't been this excited about something I made in a long time. Seth is on a quest for low/no carb food. Since I don't eat bread or potatoes very much in the first place, it makes things pretty easy for me. He suggested cauliflower as an alternative to mashed potatoes. I was skeptical because I think cauliflower smells like fart. But then I remembered that apples were cousins to potatoes, possibly avoiding gross smells and weird texture. Turns out I was right. The recipe below is what I came up with just today and it was delicious.

What You'll Need:

• A Blender
• 1 Head of Cauliflower
• 1 peeled and cored Fuji Apple (I only used about 80% of it and ate the rest)
• 1-2 Cups of water
• 1 Clove of finely chopped Garlic
• Salt and Pepper to taste
• 2 tsp of unsalted butter
• appx. 1 Tbsp of light cream cheese
• 1/2 cup of milk
• Parsley Leaves

What To Do:

1. Cut the head of cauliflower into snack-sized pieces
2. Cut the apple into small chunks
3. Put the cauliflower and apple pieces in a medium sauce pan with the water
4. Steam for 20 minutes or until the cauliflower is easily broken with a fork
5. Empty water from pan
6. Add butter and cream cheese
7. Further break the apple and cauliflower into smaller pieces
8. Mix in the remaining ingredients (salt, pepper, garlic)
9. Move the contents of the pan into the blender
10. Add Milk
11. Blend or puree until the consistency is smooth
12. Pour contents of blender back into the sauce pan
13. Garnish with parsley
14. Enjoy

Like I said, it was quite good. You can eat it with anything you'd eat mashed potatoes with. I really like baked chicken and green beans. I wish I had a picture but we ate it all.

The Savvy Musician

I feel like I'm about a century behind everyone. But in case you're even more behind the times than I am, check out this website. For any musician with big dreams, Savvy Musician is helpful, encouraging, and forward looking. Thanks to a friend, I've seen the light. I'm into it. Thanks, Kiki.

Doin' It Right

This album is what I need. For one, its release gives me hope that Daft Punk will come back to The United States at some point. When I discovered them about 6 years ago (late, I know), they were doing their final appearance in The States. Of course, with me being in a freshman in college in Michigan and the concert happening in Las Vegas, I did not go. Now, there is a sliver of hope that they will be back. I do hope it happens.

In the 60s I wasn't a thought. In the 70s and early 80s, I was a hope and dream, maybe. This new Daft Punk album is taking me back in time to groovy days and phone parties. Or at least, that's what I imagine was the case back then.

The music on this project is a fun reminder of the past, hence "Random Access Memories." It does not forsake today's connotations of "dance music," as there are plenty of electronic manipulations of instruments, voices, and effects. It does however possess a decided mood of what dance music was circa the 60s and 70s. It's smooth, organic, and beautiful. You can dance, take a ride, lay out on a beach somewhere... It makes so much sense.

The whole album is my favorite. But here is one called Touch and their latest single Get Lucky.

Get it now.

Touch feat Paul Williams

Get Lucky feat. Pharell Williams*

*He's producing the soundtrack to the sequel of Despicable Me 2. Can't wait to hear it. If you haven't seen the first movie or heard the soundtrack to it, it's worth it. 

40 Yard Fake and Acid Dreams

Summertime is (almost) officially here. For me, it's been here since May 11.

THANK GOD.

Lots of driving, hanging out with friends, catching up with sports (moment of silence for The Red Wings), drinking, eating... It's been great.

Of particular note was the trip Seth and I took to Paris. We flew to London first, staying long enough to eat a little something, taxi through the city, and then hastily catch the next train to Paris. We went through "The Chunnel," which I slept almost the whole way through. I assume it was pretty boring, given the whole dark tunnel part.

Once we woke up, Paris was in our midst. It was graffiti-laden and beautiful. Also very dangerous. If people feel like they'll die in New York City traffic, then go to Paris once and you'll appreciate your life in an instant. The driving there is CRAZY. Like I saw three accidents crazy. And I was only there for a week. Besides constantly dodging death, we had a swell time. The city is like a living museum. Everywhere you go is old. Even convenience stores and bars are edifices with hundreds of years of history.

My favorite part of Paris: The Food (and drink).

Breakfast: Paul's. It's a chain but it's fresh and delicious. The ham in the omelet I had was incredible.
Lunch: Just about anywhere is great. You can grab a sidewalk spot, some coffee, and people watch for hours. I will say, ketchup is really different over there. Should you get french fries, be warned.
Dinner: Chez Fernand. Great wine list. Many options. Fresh vegetables. Very kind. My favorite place above all places.

Least favorite part of Paris: The Eifel Tower.

It's a 40 yard fake: Good from far. Far from good.

Don't misunderstand me. The view from it is incredible. And again, looking at it from afar is very nice, especially at nighttime. But up close it is brown. Like dirty brown. And apparently, Parisians feel the same way. Got some great pictures from up top. And since Seth is terrified of heights, we didn't stay long. Sorry, not sorry.

All I ever heard about France and Americans was that they don't like us.  I think that as long as you make an effort to indulge the French culture, they'll meet you part of the way. Either we were really lucky or my French was so bad to the point of charm. Regardless of the reason, our experience was enjoyable and without any major complications (besides getting lost a lot, which I happen to enjoy).

-----------------------------------

Two days ago, Seth and I got back from Las Vegas for his cousin Corey's bachelor party (also for his soon-to-be cousin's bachelorette party). This was my second stint in Vegas. Four days of Hangover worthy fun in the sun, dancing in the dark, and a lot of stuff in between.

The highlight of this trip was Kaskade. He is an electronic music phenom.

Getting there was long.
Once we got inside it was hot.
We waited for two hours.
My feet hurt.
Then it started and it all made sense.

WHAT A SHOW! There were lasers, ballerinas, whacky colors on an enormous screen, flashing lights, disco balls, cold steam guns... I felt like I had been transported to a time when LSD was flowing and free love was the law. The music, of course, was awesome. Kaskade does this things where he starts new loops on up beats and using the craziest subdivisions. It's jarring and exciting and fascinating. It's improv taken to a new level that I've never heard, at least not in person. So cool.

That night/morning, I didn't sleep for nearly 24 hours. A plane ride back to Michigan at 6 in the morning makes sleeping useless when you're done carousing at 4AM with packing left to do.
It's been a great three weeks of summer so far. Now I've got to be productive. Looking for the motivation...

Gettin Busy

My tuba professor and I always joke about how busy we are because of how often people fabricate

exhaustion due jam-packed schedules or whatever. Hearing about people's limitations (that they have complete control over) gets to be a bit of an annoyance for me. Mostly, I don't like being talked at. But I really don't like insipid excuses mixed with the faded scent of accountability. I bet my professor must really get tired of hearing stuff like this all the time, though. He teaches a full tuba/euph studio, performs around the country regularly, is married and has 4 kids (6 if you include the two dogs). I'd say he's legit busy. And as a result pretty darn tired.

He sent me an article to read a few months ago, after we were both laughing about this topic. And now that the end of the semester is a reality, people are "busier than ever" (planning even more poorly and whining even louder about it). The Busy Trap is funny and sort of long. It raises some good defenses (and offenses) about the choices we make that "make us busy" in life. Though, as far as college is concerned, I think there is little to defend in this regard. Ultimately people will make time for the things they want to do, whether or not it comes at the expense of things they are obligated to do.



Anyway, I am pretty not busy. At least not the overwhelming kind. Case and point: reading a new book. I think it's the 7th or 8th book I've read for pleasure since the start of the school year. It's called Gone Girl. I've never read a Gillian Flynn book until this one.

It's very funny (the laugh out loud and get stared at in public kind), relatable, entertaining, and well-written. The story is about a couple with a lot of love, miscommunication, and booze. There is some whodunit kind of stuff going on and some great character development.

If you like reading you should read it.

I'm gonna go be busy watching some t.v.

...just no time to do anything these days.

Super Ma to the Rescue

ART and LIFE are inseparable, both needing nourishment for a functional, thriving society. Yo-Yo Ma is a real life superman trying to change the world for the better, by advocating for the place of the arts in our country.

NPR Article on Yo-Yo Ma

Adventures in Louisiana

So it's about three weeks after my recital. Naturally, I'm wondering, "What's next?" I've always had trouble keeping a high level of motivation for long term endeavors. Well, SCRTEC ('Sir-Tech) came around at just the right time.

For those of you who don't know, SCRTEC stands for South Central Regional Tuba Euphonium Conference. It's kind of like the auto show for tuba players... Well actually the regional auto show for tuba players. Every two years ITEC (International Tuba Euphonium Conference) is hosted some where in the world. And in between those years, regional conferences are held all over the USA. It's rumored that next year's ITEC will be back in Bloomington, Indiana on the Indiana University campus.

So anyway, SCRTEC. It was a cool experience; my first tuba conference. There were some great performers who gave inspiring performances. Some of the usual big names were there: Demondrae Thurman, Ben Pierce, and Adam Frey among them. But what inspired me most were some of the people who are not always included in that constant adoration of tuba-euph performance. The first of which was Justin Benavidez. He played a program of Piazzola (Etude No. 3), Tibault (3 Danses), and Romanyhi (Parallels). My favorite was the Romanyhi. It was full of musicality and effortless phrasing. It left me breathless at one point; the second movement I think it was. It was just really good music playing.

Another mesmerizing performance was that of Kevin Wass. He's the Tuba-Euph Prof. at  Texas Tech. He premiered a piece by Carson Cooman called Shadowbook (Three Songs in the Night) written for tuba, clarinet, and piano. It had me on the edge of my seat from the beginning to the end. The music itself is really interesting. But what made the performance excellent was the intensity of the players. They took on the character of the movements without crossing a line into the overly dramatic. Dr. Wass really showed off  with his abilities to play with so many colors in rapid succession. It was a demanding piece and it didn't seem so hard for Wass.

By far my two favorite performances. 

I wasn't a big fan of the lectures I attended. Between speakers that were too awkward in front of a group of people and straight up boring presentation, I did not leave most sessions with a lot on my mind besides how I could've gotten a beer instead. There was one discussion, however, that really caught my attention and kept it. Joe Skillen, LSU tuba/euph professor, gave a presentation on entrepreneurship in art music. It was enlightening and informative as well as affirming. He's direct but also easy-going; the kind of guy who loves sharing new ideas but also likes putting them into motion. Skillen has a lot of it figured out and I have a lot to learn from him.

One word: Crawfish. 

LSU SCRTEC hosts Brian Gallion and Joe Skillen had a crawfish boil for the attendees and guest artists. First time I've ever eaten crawfish and it definitely won't be the last. It was a lot of work but it was delicious.

Had some gator for the first time at The Chimes, a Louisiana staple. It was really good. Chimes was great for its beer too. It's got a ton of beer on tap (a lot like Ashley's in Ann Arbor but way bigger). Juke Joint IPA was my favorite local beer. It's hoppy but just a little bit sweet, unlike the sharp citrus tastes that IPAs often have. So, it's something a bit different as far as IPAs are concerned but very enjoyable.


Also got to meet Mike the Tiger, official mascot of LSU. 

Recording History

I'm starting a new project involving some of the tuba/euphonium community's most important figures. It is a mix of interviews and pedagogical articles. I started phase one with my first interview earlier this afternoon. Hopefully within the year, I'll be published!

I used something called Screenflow and I am crazy about it. It is a program that records your computer screen and audio. And since my first interview was done using Skype, it was perfect. The trial version is free (has a watermark on exported video) and the full version is $100. It is totally worth the money. So if you're into making instructional videos or tutoring or give music lessons online, this program is quite useful in documenting your work and/or your students' progress.

Screenflow's Website

It's Great To Be

A Michigan Wolverine!

Talk about rising to the occasion... I mean, damn.

Gender Roles in Art Music

I just read an article today that made me want to comment on it. My response to the article is below and so is the link to the article.

http://www.symphonynow.org/2013/03/harpist-in-the-lions-den/


The opportunity for women has definitely increased in the art music community. Unfortunately, I believe these increased opportunities to be lacking still. The first reason I say this is because of the extreme male dominance in "positions of musical power" (e.g. concert masters(mistresses), principal flutists, timpanists, trumpeters etc.).  But this is pretty obvious. Something concerns me more, however.

There seems to be constraint on how a woman can express herself depending on what sort of position she holds. For instance, successful female soloists seem to take on a more sexualized or traditionally feminine image (e.g. Amy Porter, Hilary Hahn). The same goes for high positions in orchestras (who often serve a soloist function) such as concert masters. Famous female conductors, on the other hand, insinuate a more androgynous, and at times traditionally masculine, image or persona.  What is interesting and unfortunate is that these two expressions of feminine energies are virtually mutually exclusive. It is irregular to see a "traditionally feminine" conductor or more masculine concert mistress. Shouldn't be that way.

Males, on the other hand, have been afforded the privilege to express themselves however they want in any art music arena. Whether you talk of the brilliance (and flamboyance) of the late Leonard Bernstein or the stolid demeanor of some principal male woodwind players, the fact remains that there has always been freedom in all art music arenas for a man to express himself in anyway he felt. It would be great if women openly had this freedom too.

DONE!

Thank you to everyone who came to my recital and to those who encouraged me along the way. I had some fun (and some disappointments). But mostly I learned a lot and am most certainly happy it's over. Spring Break is here! Thanks for being apart of a growing experience with me. -SJB

The Delight of a Bad Habit

My recital is close (8 days). My anxieties are high. But this has made it better:

My grandfather maintains til this day that coffee turns you black inside. So by standards of old people, I have no business drinking coffee. It's funny though, he drinks it everyday and is the sweetest man on Earth.

I am in love with this coffee (the one on the left). It has made every morning (and some late nights) both delicious and easier to deal with. I have been drinking coffee since I was about 7 years old, thanks to my mom. It was a tradition for us to drink coffee on Saturdays. Only a cup or two, though.

If you're a coffee lover, you've gotta try it. Or maybe you've discovered it already. I'm generally late to parties.

Tuba with a Side of France

Thomas Leleu is one of France's rising classical music stars. He won a professional orchestral job in France at the age of 19 and recently won a French Grammy. He's 25, funny, artistic, and pretty damn cool.

Upon seeing this picture a few months ago, I was certain that this guy was going to be as exciting as a hole to the head. I mean, if Pauly D and Robert Pattinson could produce a child, I'm certain that Thomas would be the disastrous result.

A disaster was not what I got, though.

I got to meet him on Monday. He, my professor, a studio buddy of mine and I all went out for pizza and beer (naturally). I'll spare you the inappropriate details of dirty French jokes about Katie Holmes and other American celebrities... But I will say that Thomas was a very polite and interesting person. He likes talking about things besides tuba, likes to drink beer, and loves Latin music. I can't be mad at that.

On Tuesday, Monsieur Leleu performed at The U of A. Before I start on my worthless criticisms, I would like to say that Leleu plays and sounds incredible. The ease at which he plays softly and musically is enough to make me want to quit the tuba forever. The virtuosity exhibited over the course of the hour he performed was also impressive. My foremost issue, however, was with the program. Aside from a Latin piece he wrote himself and a piece composed in tribute to another famous French tuba player, everything else was written for other instruments. The recital was full of songs from Carmen and from Samson and Delilah. And of course there were show pieces like Czardas (he can double tongue like no body's business)... It was as if he programmed the recital for an audience who didn't want to hear anything other than the classical music that plays during holidays, commercials, or movies. Mind you, Leleu's tour consists of several colleges with renowned talent and musical excellence including The New England Conservatory and Eastman School of Music.

On top of the fluffy programming was a very awkward moment in the recital. After playing two movements of an oboe concerto, two songs from Samson and Delilah, and three minute Elgar piece, there was a piano solo. It was an excerpt from Carmen. I thought it would function as a long introduction to the other Carmen song following it. But no. Besides the fact that it was from the same opera, it had nothing to do with what came next. There was applause, a shuffling around of sheet music, and then the next (unrelated) thing started.

I've never witnessed anything so bizarre in my life. At least not at a recital.

The second half had Piazzolla's Obilivion to open and it was followed by the tribute piece to a famous French tuba player named Marc. This piece was very jazzy and had some pop references in it, an improvised solo, multiphonics (playing the tuba while singing). Even though I'm no purist, I really wanted some standard tuba rep. Could I get a movement from the Vaughan Williams Tuba Concerto or a Broughton Concerto? Something traditional and written for a tuba? Just one thing!?

Nope. I got songs. Songs for every other instrument and voice type under the Arkansas Sun. They were really pretty, well-played songs. But songs. I guess there was a concerto but it was for oboe. And frankly there was a touch of blasé stage presence mixed in there too. I am not sure if it was meant to display a cool, collected demeanor. If so, I didn't get that and I did not care for it at all.

In spite of my many gripes, I really liked Thomas on a personal and musical level. Honestly. While I would have loved a completely different program, his high-level abilities and the musicality with which he played was something I aspire to achieve. It was inspiring to meet someone who is young and more successful than I am. This was a great experience for me.

And there was beer.

Wise Man or Man Down?

Everyday that passes is a day that I near the night of my recital (and spring break; thank God that's coming). I decided that I wanted to play a tuba staple on my recital: Capriccio by Krysztof Penderecki. While it's a standard piece of tuba repertoire, it is also one of the most difficult pieces out there for us. It involves a lot of fast jumps between registers, necessitates technical ease, and a wide range of dynamic control.

It's like Billie Holiday song, you'll probably be really old before you feel you can do it justice.

Generally, people play this on an F (or Eb) tuba. I thought, "hey, why not play this on my C tuba?" For those of you who don't know, the difference between the F and Eb tubas and the C tuba is like the difference between a cello and a string bass or baritone voice vs. bass voice.... sorta.

Anyway, my "brilliant" idea and strange aural concept of this piece led me to make the choice to do it the harder way. Inevitably, my performance will be less accurate than if it were on the smaller tuba.

What I'm struggling with is a two-part problem: 1)Do I accept that the standard of my performance will be not as good in terms of objective execution? Or, do I maintain an ideal nearer to the perfection that I would achieve on the smaller tuba? 2)Is "accepting" my limitation being being realistic and wise or am I manning down?

I feel that no matter if any of you reading this understand anything about tuba music or not, everyone can relate to the reality that they all possess limitations. Is the purpose of limitations to constantly strive to transcend them? Is it to work "within the system" ultimately creating something unique to you because of your limitations? Or is it that we should always be cognizant of what battles we choose to fight?

To put it concretely, I have three choices:

1) Man up and go for the same standard of performance as if I had it the easier way, with my small tuba.
2) Work within my C tuba limitations and make something really musical and passionate, accepting the technical flaws that will come along.
3) Familiarize myself with my limitations and never attempt performing something that will cause me to choose between the two previous choices.

I think that the choice I make, and that everyone makes in situations of recognizing their challenges, is largely telling of what kind of person I am and what I value. Someone can play a sport with great statistic success.  Dedication, discipline, results. But lacking heart and passion. No vitality. They represent choice one. There are great businesspeople with damn good know how but who possess even better people skills. They are easy to like and connect with; there is an organicism about them. They represent choice number two. Then there are people in the world who live in a manner that keeps them secure. They do just enough to be better than half assing the job but they don't stand out. Not good. Not bad. They represent choice number three.

The question at my ripe old age of 24 is who do I want to be? Who does anyone want to be?

Someday, I'll listen to my recording of this piece and wonder what all the neurosis was for. I can't say for sure that any of it even matters.

O! absurdism, how you haunt me.

But that's a philosophy for another day.

So long.

Men Only

Magazines aren't exactly literature. Still, they are some of my favorite reads. Whenever I travel on a plane, I always get a magazine. Maybe a GQ, almost always a Details and religiously I get the latest copy of Esquire. It's my favorite of men's magazines because there is something in it for everyone: fashion advice, interviews with interesting people, lost skills in the art of being a man.

I love it.

The newest issue is full of some really fascinating stories including an interview with Thom Yorke (Radiohead) and an in depth look into the life of a forgotten hero. There are also some practical (manly) cooking articles about pairing your booze properly with a meal, preparing a roast, cooking fresh fish and a whole lot more.

Looking at what I've written, it appears that all I'm interested in is music, violence, food and booze; reading too, I guess.

I am but a man...

Talented writers, wide appeal, a good read, and totally worth the $5.

Mile High Fun

Today I just returned from Denver, CO. It was my first time there; got to see my brother Jason, who is in The Army. I also got to see one of my best friends, Quincy, who turned 24 today.

The time I spent in "The Mile High City" was incredible. One of the first great experiences was John Elway's steakhouse named Elway's. Little did I know, John Elway pretty much owns Denver. Hell, he owns a lot of Colorado. The guy is a business tycoon. And his restaurant is amazing. The smoked buffalo quesadillas are delightful as is the fresh guacamole and chips. Of all things, I was a fan of the drinks... of course.

The selection of whisky and bourbon has more depth than I have knowledge. Same goes for the selection of beer; a subject I'll gloss over later.

I explored Elway's signature cocktails. My very favorite thing was the Lemon Basil Margarita. Fresh, a touch sweet, and very refreshing, especially after a long day of traveling. A close second to the twist on this classic drink was the Blackberry Smash. It's sweet too but darker in flavor. It has a transparency that activates all parts of your tastebuds. Elway's was great.

For a good, more affordable dinner Blue Sushi is wonderful. That's where we ate dinner after the million dollar appetizers and drinks at Elways. And it's a pretty awesome place to dine even if you're with friends who don't care for raw seafood. Also, there are really cool presentations with lava rocks and other random stuff I've never seen done with food.

Not a bank breaker, good portions, a lot of zen, blue decor.

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Hangover Break

DenBisCo (Denver Biscuit Company) is possibly the most bread I have seen at one meal. Motown Music going, biscuits, gravy, eggs, bacon, cinnamon rolls, self-serve coffee, and more biscuits. I am not big on bread, but this place was filling and curing, especially after a night of imbibing. Loved it. It's a Denver must.
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I got the privilege of going to a few breweries during the short time I spent in Denver. Among my favorite was River North Brewery. I ran into some UM alums, which was cool (and apparently a normal occurrence in Denver for anyone who went to a big school). It's pretty much a bar attached to an indoor beer garden. The space is very open and made for standing and talking and drinking tons of beer. You don't have to squeeze through tons of drunken idiots spilling drinks on you. I wish I could tell you all the beer there was, but there is A LOT to choose from. Everything ranging from standard brew types to more adventurous creations. By far one of my favorite places.

While on the subject of big schools and alumni, I also visited a bar called Whiskey Bar. It's a big hangout for Mizzou graduates. This phenomenon of alumni bars was really surprising and pleasant. Denver is a city full of people who aren't from there. So no matter where you are from, you can find a home away from home. Whiskey Bar was cool. Standard bar. Lots of whiskey and televisions. 

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Healthy Break

Red Rocks is a Denver staple for people who appreciate nature, love music, and enjoy hiking.

How can you hate that? There are miles on miles of hiking opportunities in the park. I couldn't do any this go around because of my knee injury. But just seeing it was spectacular. Musically, Red Rocks may be one of the most famous amphitheaters in the world. It's been around since 1908, I believe. The Beatles, Widespread Panic, Jimi Hendrix, Colorado Symphony Orchestra, Stevie Ray Vaughan... They've all performed there. But what do I know? The history of this amphitheater is rich beyond what I can write here. You have to see it (and hear it) to believe it. There is a museum that features many aspects of this widely appealing wonder. Among those features are past performances of great artists just in case you're not visiting during concert season. 

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The last food/drink establishment of note was The Kitchen. It's a new Denver restaurant. The decor is clean, open, and slightly industrial with the exposed brick, metal ceiling beams, and wooden floors (they may be wood laminate... this place is very "conscious"). The staff is very young but attentive and helpful. From start to finish, the food was tasty. I had a steak with kale greens tossed in braised lentils. I almost finished it all. It was a lot of food and I eat at an annoyingly slow pace. For desert there was a caramel toffee pudding concoction. I don't even know what all was in it but it was served warm and it was addictive. My only qualm was that the restaurant didn't carry some of the standard spirits that you would find at most places such as Woodford Reserve or Beefeater. But I guess the trade off is that they have a lot of locally distilled spirits, which in the restaurant's defense were very good.

Well, this blog has been long enough. I had a lot of fun in Denver. I would seriously consider living there. Matthew Stafford (Detroit Lions) was on my plane ride home. Random.

Oh, and Stranahan's Whiskey (distilled in Colorado) is awesome.

Here's an ever-ambiguous article about the distinction between Whiskey and Whisky: http://dinersjournal.blogs.nytimes.com/2008/12/04/whiskey-versus-whisky/

An Interesting Read

I referenced J Dilla before, on my blog last month. An NPR music blog, A Blog Supreme, published an article a few days ago echoing the enthusiasm for the late talent of Dilla. But besides that, the article tells of his musical and life history.  It also explains the significance of his music and how it continues to reach, change, and influence several music scenes, especially jazz. It's a good read.



Also, Happy Belated Dilla Day (February 9).

Why J Dilla May Be Jazz's Latest Great Innovator

Anna Moffo, Kanye West, and Me

So, I've got a recital coming up. And I'm guessing of the 5 people that read my blog, none of you are even close enough to get here. In preparing for my recital however, I've become more and more obsessed with vocal music. One of the pieces I'm performing is from Rachmaninoff's 34th opus, entitled Vocalise No. 14. It's a tirelessly performed piece but for me, it's a first. It's gorgeous in every way. A great recording of the late and great Anna Moffo is posted below. She glides with such ease that it's almost unbelievable.

I thought it would be great to do some other "well-known" music on my recital this time around. It starts with Kanye and ends with West; I'm putting my money where my mouth is.

I'll have a sneak peak recording from rehearsal on my website next week.

Free Music

Many know of IMSLP, a virtual library that both supplies free music (music in public domain) and music for sale that you can download. What I didn't know about, was Partifi.

On my upcoming recital I'm playing Vocalise No. 14, op. 34 by Rachmaninoff (overdone sure, but I love it). I looked for it on IMSLP and found the score easily. But with Partifi, I was able to create a piano part and tuba part for free and in PDF format. You can do this with music you have purchased yourself or using the IMSLP database. It's great. Use it. Love it. Play it.

http://www.partifi.org/

Notes from the Underground, A Music Review

Of course I'm biased but it's hard to say that Ben Pierce's new project is anything short of impeccable. I love it. And, anyone who is into well-performed contemporary music will love it too.

There are several reasons why this album is a success. In general,  Kristy Mezines, did a superb job; she's the pianist. A lot of the music on the album is brand new. It's always hard being the first to collaborate on stuff that has never been performed in my opinion. She knocks it out of the park. Also, the very fact that there is so much new music is pretty cool. And even cooler is the fact that one of the new pieces is from University of Arkansas' own Dr. Robert Mueller (Professor of Composition and Theory).

Among the more specific things I admire about this project is the musicality that Pierce brings to every piece on the CD. Whether it's fast or slow, high or low, the music speaks. There is something human and expressive happening at all times.

The second reason why I love this album is the virtuosity presented in various pieces. Moto Perpetuo, op. 2 (Christoskov) shows a very traditional type of virtuosity and showmanship. It is glorious in its own right and Pierce executes it with unbelievable agility and intensity.

What is more impressive to me, however, is the Sonata in G Major (Eccles). 

He performs this, of course, on the tuba, as it is originally written for double bass. I like that it demands extreme dexterity like a "show piece" might. However, it is restrained and controlled; intelligible. Dr. Pierce has separated himself from a superficial approach to technique often heard from tuba artists (even some well-known ones). The way he plays the sonata combines showmanship with elegance and clarity.  Whereas, some tubists play showy things that ostensibly sound impressive: there are lots of notes, it hangs in an extended range, it is fast. Great. But when you listen further, the melody of these fast passages is more percussive than melodious. The musicality and calm is lost. It becomes more of a statement that, "I can play really fast, loud, and high. And you should applaud this because I'm a tuba player and most tuba players can't do this much." I feel that the Dr. Pierce's performance of this sonata makes tubists reconsider what it means to be a virtuosic tuba player. That's what it did for me at least.

This brings me to the third reason why I am a fan of Notes from the Underground. 

The repertoire.

It is both diversified and accessible. "New Music" often comes with a connotation of borderline tonal and just plain weird. For the selections on the album that could fall under this daunting category, they are offset by being accessible through their programmatic nature (Lebedeva) or through deeply lyrical melodies (Mueller). The Mueller piece actually puts me in the mind of Hindemith's sonatas a little bit. For those who don't like Hindemith, the connection I'm drawing between the two is my own opinion.  So give the Mueller piece a chance anyway. It's totally worth it.

There is something for everyone's musical comfort level on the album but also something to extend everyone's palette a little bit. Or at the very least, something that will make you think more highly of low brass solo music and performance.

Professor Pierce will be performing on Tuesday, February 12, 7:30 PM in the Stella Boyles Recital Hall on the University of Arkansas campus in Fayetteville. For more awe and wonder check out Ben Pierce's website. His albums are also available through iTunes.

New Music for the New Year

Just listened to this guy on NPR while driving home from Sam's Club. 2013 just keeps getting better! He has remnants of D'Angelo and Bilal mixed with something new and interesting. Love his voice. His name is José James. He has two albums out from 2008 and 2010; his Junior album is titled No Beginning No End. Preorder on iTunes and Amazon available now. I'm excited.

www.josejames.com

The NPR Story from today available online.

Django Unchained - A Review and Rant

Well, hot damn, Tarantino. You did it and you did it good!

I loved the movie. It was full of passion, romance, action, butt kicking, and most of all good acting. I loved the music too. It was The Good the Bad and the Ugly meets crooning meets the body-thumping bass of hip hop. It was hardly flawless but I think the flaws are greatly overshadowed by the spirit and realism of the story.

The story begins in 1858, Texas, USA. Django (Jamie Foxx) is rescued by a German "dentist" named Dr. Schultz-who is really a bounty hunter. He needs Django's help in identifying some wanted men, as Django was once a slave of these wanted men. The good doctor, in my opinion, carries the show. He's funny, against slavery, and is a smooth talker. Django, was separated from his wife Broomhilda (Kerry Washington) and desperately wants to find her because they are in love. A ton of chaos and adventure goes on... you'll have to see it. There is a lot of Tarantino-style blood, where it looks like guts come out of people no matter if they're shot in the arm or the stomach. A bit graphic, but that's Tarantino's fantastical nature at hand.

What truly makes this movie a success is its polemic. Not since Roots has there been a mainstream slave-time depiction on film, television or otherwise. When it came to the true horrors of slave life, Tarantino did not go the route of fantastical and cartoonish. He went the route of what was dark and real; frankly, things that aren't talked about anymore. When I was growing up in middle and high school, slavery was a bad thing that happened long ago. End of story. Django, very realistically, showed exactly the kind of bad that slavery was. It rehashed the severity of 300 plus years that is largely trivialized today; many kids naively conceive black slavery as a bunch of people working in fields, who were sometimes whipped.

So to Spike Lee and other dissenters of the film, get over yourself.

People need to be reminded what it was like. The story is fictional, obviously. But the N word was not.  It was 1858. That's what black people were called back then. Anyone criticizing that lives in a bigger fantasy world than Tarantino. Hot boxes were something I never learned about in school. But they were very real, as were the mandingo fights, mammies, field slaves, comfort slaves, and courtesan (mistress) slaves all depicted in the movie. And frankly, if you research these slave functions, you'll find a surprising "family tree" of how these functions have manifested themselves in today's society. The brutality in Django was nothing short of accurate. It wasn't any less true than the chained slaves thrown off ships during the Middle Passage journeys (Roots).

Was the "Spaghetti-Western" style fictitious? Yes. Was the overall storyline fictitious? Yes. Were some of the guns in the movie not invented until after the Civil War? Yes.

But that's the nature of Tarantino's work: extreme, hyperbolic. Who doesn't want the underdog to have power?  Who can make that a downgrade of the movie when so much of it welcomed an unadulterated depiction of slave life?

In the end, I'm forced to think that Spike Lee is mad for two reasons: He has become irrelevant. His last big hit was He Got Game. He has released movies since then but not with as much positive reception. And I'd like to add that Summer of Sam was a movie that said the F word more times than any movie that had existed until then. It's hard to say that this expletive was even a little bit historic as was the use of the N word in Django Unchained. It is easy to say, however, that there is a lot of unnecessary hypocrisy going on. Spike is drinking some haterade.

In my opinion, the movie was both entertaining and educational. I don't think you can ask for much more than that when so many movies are trash today. If people decide that they dislike the movie, they should evaluate why. It was gory because slavery was gory. It was depressing and cruel because slavery was depressing and cruel. It had an unrealistic ending because Quentin Tarantino wrote it.

If you can't handle the heat, then get out the damn kitchen.