Tuesday, July 14, 2009

(guardian.co.uk): My Moon-Landing Jam Session

With the 40th anniversary of the first manned moon landing approaching this Sunday, there are going to be many interesting reminiscences and re-visitations of this historic occasion all over the airwaves. Perhaps fortunately for you, reader, I can offer no historical or sociological input of my own as I was just about to turn a month old as this event unfolded. I'm sure I was duly impressed. Really.

Anyway, in lieu of my own infantile observations and reflections on this momentous day ("waaaaaahhh bottle waaaah"), I offer you the recollections of a certain Mr. David Gilmour (click post header to access link), who spent the occasion in a BBC studio with the rest of Pink Floyd, providing an one-off improvised soundtrack to the proceedings, the performance of which can be viewed below (goat bless Youtube).

Monday, July 13, 2009

(Ventura County Star): Vinyl's Uptick Is Evident In Sales Of Old And New Records

A better article than many I've read over the last few months about the ongoing vinyl resurgence amongst a segment of the music buying population (click on post header to read).

Monday, July 06, 2009

From Bad To Worse: 20 Questions Concerning The Cleveland Indians

A few weeks ago, Sarah and I took in our first ball game of the year, a victory over the St. Louis Cardinals. At the time, I wrote the following:
With this victory, Cleveland took the series and hopefully boosted themselves another step closer to possible contention in the American League Central.

Ha ha ha. Oh, I kill me sometimes.

Immediately following that night's win, the Cleveland Indians stopped screwing around with .500-level ball and went back to outright tanking the year: the team went a miserable 2-14 for the rest of June, returning to levels of horrifying all-around suck not last seen since, er, April. By the time Sarah and I made it to another game on July 4, the 2009 season was by all intents and purposes a lost cause. Sigh.

A bigger development this past weekend: the news came down that Indians General Manager Mark Shapiro had just guaranteed the employment of hugely unpopular head coach Eric Wedge and his staff through the end of the current season. I suppose it is currently feasible that another one of this club's patented second-half breakthroughs is only a matter of time away as this seems to be the way Wedge clubs operate. However, it is also conceivable when looking at past evidence that if the Indians perform well enough from now until the end of September, Wedge will wind up keeping his job into the 2010 season.

Quite frankly, it is exactly this possibility that upsets die-hard fans the most: we've already accepted the early end of this campaign, and we're willing to see the rest of this mess through in order to (once again) evaluate some major league-talent lurking about in AAA ball and try and rebuild for next year. That said, the mere idea of possibly having to go through all of this frustration once again next year with this same coaching staff is intolerable. Enough is enough, Shapiro: I have nothing personal against Eric Wedge, but it's time to move on. Hell, after this year, even he might agree.

Even with the speculation as to status of Wedge's job now laid to rest (for now), dozens of other questions surround this team as we head towards the All-Star Break and, eventually, the season trading deadline at the end of the month. I've listed 20 of the more pressing queries below:

With Shapiro and Wedge and the players all accepting the blame for the woes of this team, is the entire organization flawed from top to bottom?

If that is the case, should Shapiro be fired as well as Wedge at the end of this year?

If that is to be, then how long before this entire organization can be righted and set back on a winning course?

What in the hell is going on during Spring Training and why does it look like this team has drilled relentlessly on everything but actually playing baseball?

What is wrong with our much-vaunted scouting staff, particularly in regards to evaluating pitchers?

Why does this team only seem to "put it all together and hit the afterburners" during the stretch run in August when it's usually too little, too late?

With the season already in the toilet and showing very little hope of a turnaround, why is Grady Sizemore playing at all and not undergoing needed elbow surgery instead?

Will the dominating 2007 iteration of Fausto Carmona ever re-appear, or is the tentative, apparently fragile pitcher that we see on the mound in his stead all we have to look forward to until his contract is up?

While we're on the subject of Carmona, what exactly was/is being done to correct his mental and mechanical issues in Arizona and the minor leagues? Is this a Roy Halladay-style complete rebuild or a kind of double-secret rehab assignment without end?

Just how ungodly awesome is Shin-Soo Choo?

Is the return of Travis Hafner a recurrent mirage?

Who is the real Kerry Wood?

Just how bad is the news with Jake Westbrook's delayed return to regular pitching? Is this going to be one of those rare Tommy John Surgery stories where it doesn't work out in the end?

How long before Carl Pavano is dealt? Kelly Shoppach? Ryan Garko? Jamey Carroll? Ben Francisco?

How far up Eric Wedge's shit list is Jhonny Peralta and will this affect his standing (or employment) in the ballclub?

With the recent additions of Jose Veras, Winston Abreu, Mike Gosling and Chris Perez, I believe we are now on version 3.0 of the 2009 Indians bullpen. When Rafael Betancourt returns at last from the Disabled List, will he pitch again for Cleveland, or is a deal in the works?

Speaking of the bullpen and people named "Perez," is Rafael Perez in need of more time in Columbus before he can be trusted again in a tight game?

With over seventy different lineups used thus far, when will we finally see a stable, standard batting lineup from Wedge?

What will be the respective futures of superstar catcher Victor Martinez and staff ace Cliff Lee after 2010, when both become eligible for free agency (and with the likelihood of the Indians to afford what these two will be worth on the open market, will they even be on the team by the end of this year, for that matter)?

If we are to trade Lee and Martinez now or in the offseason, in what state does that leave this team in for 2010 and beyond (especially if our farm system/scouting operations are as compromised as they appear to be by a systemic tendency to focus on players of a certain personality in lieu of a certain level of ability)?

The next 4 weeks may be very interesting indeed as far as answering the trading/dealing questions is concerned. Beyond that timeframe, there will be a lot of waiting and seeing going on both in the stands and behind the scenes. How this team handles the second half of this season, whether Wedge is able to create another late surge to semi-respectability, what kind of deals Shapiro can engineer in a league currently awash in tight divisional races, all of these factors will play into the decisions that may have to be made by Indians owner Larry Dolan in the offseason. For now, Dolan is staying mum and letting things play out. Who knows, when all of this is over (one way or the other), he might not be so willing to stand pat once again.


P.S. About the only good news to be had in all of this: my new adjusted attendance record is now 16-10 (.615). Ph33r!

Clash Of The Titans

On July 4, two of my favorite guitar players on the planet occupied the same stage at the Royal Albert Hall. Man what I would have given to see this up close and personal.

Ladies and gentlemen, David Gilmour and Jeff Beck playing a ghostly, drifting take on the 19th century hymn "Jerusalem":


Gilmour and Beck then ended the evening with a lighthearted take on the latter's 4-decade old single "Hi Ho Silver Lining":


The internet rules.

Wednesday, July 01, 2009

Public Enemies

Alright, I'm gonna come right out and say it: despite all of his proven acting qualities, Christian Bale is flat-out boring in a straight-up "hero" role: give me more of Alfred Borden, Patrick Bateman and Trevor Reznik and less of this dull, Kevin Costner-esque stoicism. Were it not for the high-powered charm and pure star presence of Johnny Depp as infamous serial bank robber John Dillinger, Public Enemies would be a complete snooze despite all the squealing tires and chattering Tommy guns.

Public Enemies traces the fall of Dillinger, and his pursuit by Special Agent Melvin Purvis of the FBI. A lot of this will be familiar enough territory to anyone who knows a little about the history and characters of the Great Depression: what little additional insight we are given here is an explanation of how the extremely popular Dillinger suddenly became a real problem for the all-powerful Chicago crime syndicate. There are also some interesting background scenes detailing the changing role of J. Edgar Hoover's FBI, along a few unpleasant interrogation scenes that serve to illustrate the completely ruthless techniques which Hoover's Bureau would become infamous for.
I might have been able to accept such a dull, stony leading man if I could have had some additional back story and interaction with the Texan special agents Purvis employs as the film winds on, but we are told hardly anything about these men and they are given precious little to say. Pity. I realize, as with most superhero movies, that most people are going to see this film for the bad guy, but do we always have to have "good guys" who are simply by-the-book "good guys" and not every bit as charismatic or interesting as the villains?

Speaking of charismatic, Public Enemies always gets right back to being interesting whenever Dillinger is onscreen. It would have been easy for Depp to go all Captain Jack Sparrow with his character since Dillinger is basically the lone wild card in a cast full of straight men, but Depp wisely lets his natural charm do most of the work for him. Portrayed as a kind of dashing, old-school romantic anti-hero (he'll robs banks, but not the customers, for example), Dillinger is mindful of what his adoring public thinks of his exploits, but also unafraid to get his hands bloody when the situation warrants. He also has displays an amazing proclivity for escaping from jail (which is the basis of two of the best scenes in the movie), which incenses the proud Hoover so much that he eventually instructs Purvis to "take the white gloves off" and capture his quarry by any and all means necessary.Since the 1933 setting prohibits lingering shots of garish neon lights gleaming on wet sidewalks, it comes as a bit of a surprise to see Michael Mann's name show up at the beginning of the end credits. Most of Mann's usual stylistic flourishes seem to be muted here, though filming in High Definition video makes for a few strange-looking scenes to eyes so accustomed to standard film. More irritating (though only occasionally employed) is that jittery documentary-styled "you are there" camerawork, the effects of which seem especially pronounced in HD.

For a day-off summer movie matinee, I was entertained enough by Public Enemies, and it certainly looks to be of significantly higher quality than its July 4 competition. That said, the recent benchmark for these period crime movies remains The Untouchables, a movie that so brilliantly sums up the genre as a whole that you can't help but compare and contrast while watching this one. Public Enemies is a movie that tries hard, but ultimately falls into the vast, unremarkable summer wasteland of "been there, done that."

Public Enemies rating: 3/5

Friday, June 26, 2009

Michael Jackson: 1958-2009

Video killed the radio star, hip-hop killed rock, mp3 killed the album, runaway consolidation and niche marketing killed pop music, and now the self-appointed King Of Pop is dead. I guess it all adds up in the end somehow, doesn't it?

For me, this news isn't quite like Kurt Cobain shooting himself with Nirvana still reigning (albeit in wobbly fashion) as the biggest rock act on the planet: the shock and loss just isn't there. The Michael Jackson that I choose to remember fondly tonight vanished over twenty years ago: a troubled ex-child star who'd started to come apart at the seams in the turbulent wake of one of the biggest pop culture achievements of the century. If you want to read a more thorough and in-depth life story or perhaps a litany of his greatest weirdest moments, you're going to have to look elsewhere as I'm here to celebrate Jackson's halcyon days before the looming specter of middle age and the yawning chasm of 24/7 celebrity culture programming turned his life into the world's weirdest reality show.

There will be a lot of talk about financial foolishness, lost childhood and Peter Pan obsessions, but if you really want to get some clearer idea of the real tragedy of Michael Jackson, simply watch "Don't Stop Til You Get Enough," "Rock With You" and "Billie Jean" for a clear look at the vibrant, raw talent he once was. Primitive by today's standards (oooh, lasers!) these clips still offer an instant primer to understanding Jackson's popularity at the time as his voice, stage presence and stunning physical grace were simply unmatched in pop music.

Then along came The Big One: despite essentially being a PG-rated re-shoot of An American Werewolf In London (by way of a George Romero zombie film), the John Landis-directed "Thriller" video continues to hold up under scrutiny 26 years after its debut. Universally hailed at the time as the greatest video ever created, there are definitely arguments that can be made that "Thriller" still holds claim to the title. Even if you disagree on that point, there is no argument that "Thriller" remains a conceptual, cultural and budgetary milestone, and perhaps the most fully-formed realization of the possibilities of the music video format. That said, this short film (and, more to the point, its parent album) also created an impossible standard that Jackson sought continuously to beat for the rest of his life.

The follow-up to a blockbuster solo debut, Thriller was not only the kind of a mega hit you only saw once per decade, it pretty much dominated the entire year of 1983 (with only The Police's Synchronicity putting up any kind of spirited fight for the throne). As a fourteen year old with an insatiable fascination for the music business, Thriller made for a hell of a story to follow as single after single made the Top 10 and the album sold in the kinds of quantities that record companies never dared to dream of. Beyond that angle, I don't think Thriller had a major effect on my tastes as I was pretty well over the moon on New Wave and electropop, with my taste in R&B more along the lines of "Rockit" and "Little Red Corvette" than, say, "P.Y.T." Listening to the album now remains a largely entertaining 45 minutes, with the lyrical subtexts a lot more noticeable thanks to the passage of time: Thriller is the state of Jackson's psyche at the end of 1982: a bit naive ("Human Nature"), intermittently dark and intense ("Wanna Be Startin' Somethin'," "Beat It"), yet possessed of a certain charming innocence that, in its resolute failure to change, started to became increasingly creepy and disconcerting over the albums that followed.

A barely-memorable reunion album and tour with The Jacksons in 1984 was the only peep the world heard from Michael Jackson for nearly three years while the hub-bub from Thriller-mania gradually died down. It was during this crucial down time that throwaway sight gags in comedies like Beverly Hills Cop began to send-up Jackson's style and image, while the first real whispers of "that boy ain't right" began to circulate in the gossip columns. Over time, the aura of invincibility around The Gloved One began to ever-so-slowly dim.

Then came 1987's ravenously-awaited Bad, which managed to become a decent-sized follow up for Jackson as far as sales and popularity were concerned (and I don't think anyone aside from Jackson really expected anything approaching halfway to Thriller's ridiculous level of success), but was also a record that I personally found to be a troubling letdown. Despite some of returning producer Quincy Jones' best work and top-flight musicianship deployed throughout, Bad was the beginning of Jackson ratcheting up his own self-importance to nearly unbearable levels while perfecting the art of writing songs and creating videos that screamed "HEY EVERYBODY! LOOK AT ME! LOOK AT ME! DAMN IT, GO AWAY AND STOP LOOKING AT ME!"

Four years after Thriller, high-budget music videos with dialogue and Hollywood actors were commonplace, and Jackson had his work cut out for him attempting to reset the playing field. In trying to continually up the ante on himself, Jackson's newer clips became self-parodic mini-epics where he tried to have it both ways: you know, the kiddie-friendly entertainer who happens to be a hard-assed, hair-trigger street-fighting man not to be trifled with by anyone (eventually up to and including Marlon Brando for crissakes). It is here that I signed off and moved on, letting what eventually became Wacko Jacko The Morphing Human Freakshow become the preferred pet of the tabloid crowd. Besides, by 1988, I was neck deep in the far more interesting weirdness being released by Prince, Jackson's only true competition that whole decade, if not exactly his successor.

In the end, I'll simply forget that the last 20 years ever happened as far as Jackson's career goes and remember him for that first electric decade of solo work and the timeless 70s soul he cut as a child with The Jackson 5. After that, let's just say that he wasn't my King Of Pop. Dangerous? Hardly. Invincible? No. HIStory? Sadly, yes.

Wednesday, June 24, 2009

XL


Guh.

What else is there to say, really.

Facebook Shmacebook

Lately, I've been getting a lot of grief from some online acquaintances over my utter lack of a Facebook account ... or, perhaps more accurately, my utter lack of a recognizable Facebook account they can easily link to. When this happens, I usually make some kind of vague half-hearted promise to look into the idea and then proceed to change the subject. Over time, these half-hearted promises have invariably remained just that.

Tonight, while catching up with the LiveJournal of another 'net friend, I wandered into a mini-discussion on Facebook that finally drove me to bang out a clearly-explained personal policy towards Facebook, MySpace, Twitter and other social networking sites of that ilk. Said response follows below:

I have very little desire to "re-connect" with people who either didn't know I existed or made my life miserable in high school (and this encapsulates 98% of my graduating class). Quite honestly, the small circle of close friends I maintained during and after that time is enough for me: by and large, I am in regular contact with the ones who can fill me in on how the ones I am not in contact with are doing.

It's kind of ironic how my career has become largely about being friendly and helpful to people I don't know considering that I kept a very low profile in school and basically just waited it for be over. I am one of those people who heard those cheesy old Jostens ads on the radio proclaiming "these are the best years of your liiiife!" and despaired at what horrors my twenties had in store for me.

So, minus keeping touch with people I had only the faintest of superficial relationships with over two decades ago ("hey wow, we graduated together in a class of 900!"), and broadcasting proof of my continuing existence to my exes (that, uh, would be a really really bad idea in most cases), I simply can't figure out anything to do with Facebook that I don't already have a blog, a faux LJ account and memberships to a couple of private e-mail lists for. Granted, said blog/LJ accounts don't exactly advertise who is writing such missives in ten-foot-tall letters, but I also kind of like it that way, to be honest.

Yup. Budding curmudgeon, me. Get off my lawn, you damn kids!

Monday, June 22, 2009

Road Trippin'

During the typically endless Northeast Ohio winter, thinking of a clear, sunny, warm summer afternoon while the frigid wind batters at the screen door is a kind of masochistic exercise, largely because such weather feels so impossibly far away. Even when we are treated to that rare summer-like May, and our hopes rise that maybe we're getting an extra early start to the best part of the year, we usually have to endure a cool, clammy, damp early June in a kind of final cruel tease before we are (temporarily) back in paradise once again.

Yesterday, Summer 2009 finally arrived, a perfectly-timed warm and dry end to a week's worth of humid, inclement unpleasantness. For the first time in far too many years, I could think of no better way to celebrate than to head out on a little exploratory road trip in the new MeMobile. While my plan had initially been for a for a full-on all-afternoon excursion, a cluttered schedule coupled with many of the main roads of Lake County being presently ripped to shreds forced me to instead wait out the evening rush before heading east down Route 2, past Painesville and into the rolling countryside.

The idea of going on these aimless trips again has been in the back of my head ever since I started going to get my E-checks done in Painesville Township, rather than off Lost Nation road in Willoughby. After one visit a couple of years ago, the leisurely drive back home (detailed here) took me back to better times when driving wasn't so much a dry, functional part of the day as one of the highlights of the day itself. A time when you didn't have to be anywhere at any particular time, and you could just pick a direction and, well, go.

Even from when I was a kid, traveling by car to my relatives or on camping excursions to Upper Michigan was something that was almost as much of an adventure as the destination itself (save for that soul-sucking 300 mile stretch of Interstate 80 across northern Pennsylvania, anyway). One of my many obsessions as a youngster was maps and roads, and I was always flipping through Dad's old hardbound atlas he kept from his college years, occasionally furling my brow at places that had changed names (or phonetical spellings) over the previous fifteen years. Dad would also bring home newer maps from business trips domestic and foreign. and I would literally spend hours poring over them, memorizing names, locations, routes, mileages, trying to imagine what these places looked like and generally marveling at the sheer scale of the American transportation system and, ultimately, the world itself. I suppose all of this made my later love affair with astronomy that much more of an obvious next leap forward, but I digress ...

As a teenager, I was delighted to find that my love of driving simply for the sake of driving was shared by the friends I'd fallen in with in high school, and we spent many Friday nights piling into Brian's car and embarking on so-called "Psychedelic Mystery Drives," which was basically 4 of us tooling around the sticks in the dead of night listening to music that had absolutely nothing whatsoever in common with real, actual "psychedelia," but nevertheless sustained a kind of eerie, dreamlike atmosphere that made these trips something I looked forward to every weekend.

Though college inevitably scuttled the regularity of these group night drives, I never lost my zest for just taking off and tooling around whenever the mood struck. To be quite honest, that mood struck pretty frequently in the years just after graduation, as home was not a fun place to be on pretty much any given night. In time, these drives became a convenient way of escaping a bad situation for a few precious hours until things died down (i.e., everyone was asleep). It also helped that gas was cheap, time was a luxury and the conversation was good. Whether it was Brian or Rob or Mike being in town for a weekend or summer or Kris being as bored and restless (and perhaps as anxious to get away from home) as I was, I was rarely at a loss for company when the urge struck to hit the road.

On the rare nights when I was alone, I made the discovery that many who are passionate about music already knew: there is something special about listening to an album end-to-end in a car with nothing else around to divert your attention away from the experience. With the volume up, the landscape unfolding before you, and your own solitude to free your inhibitions, you can sing along, pound the steering wheel in time to the beat, and savor each moment in a fashion that can only be approximated at home with a good pair of studio headphones and the lights down low. I'd say that maybe half of my favorite albums of all time became my favorite albums in exactly this way.

A funny thing: the last time I drove a car with a working cassette tape drive was 1993 (and I don't think that particular unit had worked properly since 1991). When I took over the payments on the Fiero from my brother in 1994, I also stepped into the world of CD car audio, and right around that same time, the night drives stopped.

As fashionable as it might be these days, I'm not going to blame the end of this era on the compact disc (though having a CD player in my car instantly wiped out the need to constantly make new driving mix-tapes to listen to): there were a lot of external factors at work by now that gradually wound this part of my life to a close. First and foremost, my close circle of friends had begun to gradually widen as Rob, Kris and Mike either got married or simply drifted away from the area. Also, I was in a pretty delicate state, still getting over the total meltdown of my first serious relationship the previous fall, and was thus far more motivated to get drunk and numb than zip around the outskirts of Chardon at 2 AM.

My home life had also settled down considerably over the previous two years, thus the constant impetus to get the hell away before another fight broke out had been pretty much erased. I had also met a girl and while this would ultimately prove a rather stupid mistake (and what is referred to as a "bounce-back" fling), things were going pretty well and being with her took up most of the free-time I once had set aside for myself. By the summer of 1994, the only long drive I made with any regularity was down to Brian's apartment in Cuyahoga Falls: an hour-long jaunt that I'd made so many times that it felt more like driving to downtown Cleveland instead of nearly all the way to Akron.

A few years later, the Fiero and I parted ways, and for over a decade afterward, I got by with nothing but a radio in whatever car I was driving. Actually, I didn't really listen to anything at all: I'd basically abandoned FM radio in disgust at the end of 1998, and save for a few weeks after September 11 when I had news radio going 24/7 or listening to late innings of Indians games during my drive home the last couple of years, driving back and forth to work became my "quiet time": the one point in the day where I don't have music going around me. For many years, I didn't mind the near-silence at all, but after I got the Saturn, I started to realize I was missing it.

One of the last things I worried about when deciding whether or not to buy The Saturn was the sound system. All that mattered to me at the time was that it had a working AM radio for baseball games: no consideration was given to music at all. The fact that the Saturn came with a cassette deck as well as a radio was more amusing to me than anything else, since I'd been selling used cassettes for years to customers who had purchased used cars only to discover that they had cassette decks in the dash rather than CD players. After years of smiling in commiseration at their tales, I was now one of them.

With the Saturn now legal and with a shiny new muffler installed to quiet it down, I got the itch to try out the sound system, and thus had a fun few days reacquainting myself with the second shittiest audio platform of the modern era: the prerecorded cassette. God, I didn't really miss these things: portability and convenience aside, they were on the whole a terrible waste of money to anyone who actually enjoyed listening to records multiple times in decent fidelity. I grabbed a half dozen oldie moldie faves from the used bins at work, and discovered over the following week that only two of them actually sound well-balanced, spacious and clear, while the others range between noticeably tinny or have those spots where you hear that awful, warbly, half-eaten submerged gurgle that indicates damage (or repetitive wear) to the tape surface.

While the cassette drive still worked beautifully and the heads sounded like they were in good shape, most of the Saturn's speakers sounded like someone partially fried them playing something loud and bassy. That problem was dealt with by simply flattening the low end of the EQ, but that action resulted in the prerecorded tapes, mixed and mastered in the treble-and-reverb crazed late 1980s, sounding even more unpleasantly shrill than before.
After weeding out the sonic weaklings (sorry, The Church, A-Ha and Julee Cruise, but back to the Record Den shelves you go), I spent some time rummaging around the office closet this afternoon and found a box full of old TDK SA-90s, mostly new wave-themed compilation tapes I'd made over a dozen years ago. I selected a few, filled up a box of old time traveling music, and took my drive, stopping on the way to take some pictures of an old railroad bridge near State Route 84, just east of Painesville.

Today, in effect, was all about getting in touch with an old habit that didn't so much "die hard" as "go dormant for fifteen or so years." It's great to be able to do this again: even after so much time passed and so much has changed, it's still a lot of fun and a great way to unwind and relax in a world that sometimes seems increasingly hostile to both.