Category: Music

High Tech / Low Tech: A joint project

I have friends who are really interested in photography, and one of the challenges some of them follow is this Sunday Stills idea, a weekly blogged photo challenge. A week or two ago the theme was High Tech / Low Tech, which resulted in two contrasting photos of eReader vs books: Robin’s | January’s.

That led me to thinking it would be interesting to do that with music: LP > CD > iPod. Main problem was, I’m really not interested in staging or taking photographs. Fortunately, though, I live with someone who is. So the following is a joint effort. I picked out the items. Jean staged them, took several photos from many angles, selected the best ones, edited those to be better, and here we are:

The iPod is just so little, isn’t it? Dwarfed by the five albums it contains, not at all obvious that it contains thousands more.

Yet, the LP lives on as well, and I think this also shows why. So big. So tangible. So warm, as they say. With every new LP you buy today, you also get a code to download a digital copy. The best of both worlds.

The Wilderness Downtown

OK, this was cool.

My current favorite band (at least in subcategory: Best years are not decades behind them), Arcade Fire, has this interactive video on their website for the great song, “We Used to Wait”.

You enter the street address of one of your childhood homes and images from that place get integrated into the video. I was skeptical that the fairly obscure Timmins street where my parents live would be included, but about four characters in, it came up as an option.

The multi-window resulting video was really neat, especially on the big monitor I have at home.

Requires the Google Chrome browser.

Then you can try out your the address of your choice at http://www.thewildernessdowntown.com/

Too much of a good thing?

Much as I like So You Think You Can Dance Canada, having episodes daily, many two hours long, has been a bit onerous. Of course, it’s just the auditions; it’s not really essential viewing. But they just have such a great ratio of actual dancing vs. blah-blah about dance that they’re a bit hard to resist.

Anyway, I’ve finally caught up. Of course, I’m behind on all other TV viewing, but this time of year, that isn’t so much anyway. Sunday they announce “our” Top 20. Let’s just hope CTV doesn’t start making these kids dance (and us vote) twice a week, in order to fit this all in before all the Fall shows come back with new episodes.

**************************

Apart from sitting on the couch watching gorgeous young people sweat through dance numbers, I’ve acquired four new CDs in the last week (and one’s a double CD). Even for me, that’s rather a lot, but when shopping for used stuff, you got to grab it when it comes up.

The one I got totally new, though, and in digital download format only, is Arcade Fire’s Suburbia. Given that the album is number 1 in Canada, US, and Great Britain, guess I’m none too original on that front. But this is my first Arcade Fire album (or song or anything). I just grew intrigued from reading the reviews.

I love that it’s a concept album. I love that the concept is the suburbs, as representing emptiness and loss and waste. I love people barely 30 being nostalgic for the past: “I used to write letters. But by the time we met things had already changed. We used to wait.” (Very Ray Davies and Village Green Preservation Society, that way.) The songs are smart and sound gorgeous. I don’t mind pretentious when it’s backed by talent.

Oh, and a tip: Don’t buy the albums on iTunes. It’s $12 there. Get it directly from Arcade Fire’s website — $8.

My remaining purchases are all of old favorites. With the acquisition of Flash Gordon, I now, finally, own every Queen album. Course, this one is the weirdo, as it really is a movie soundtrack in the old sense of the term: Not a bunch of pop songs that play over montages in the movie, but the actual score that sets the tone and mood of the scenes. So it’s mostly instrumentals, along with bits of movie dialog (and the insanely catchy theme song).

So obviously, not the one to get if you’re only going to buy one Queen album. Or even 10. But within the movie score genre, it’s actually quite good.

And, I finally completed my Lowest of the Low collection by getting their final album, Sordid Fiction. I need to give all these more listens, but so far it appears to be just as good as their first three: same catchy pop with an alternative edge, smart lyrics with plenty of Canadian references.

And den I got The Who: Live at the Isle of Wight. I actually don’t own all of their albums yet—haven’t quite convinced myself I need their first two albums. And not sure how I convinced myself I needed this double CD, given that it already have this on DVD, not to mention that it contains yet another version of Tommy. So I think I have 8 versions of that particular opera, at this point.

And, you know, The Who really were great that night, at 4 in the morning or whatever, performing at the Isle of Wight. The only problem is that this is a very similar set to Live at Leeds. And Live at Leeds is just better, in both performance and sound quality. But at least Wight features the entire concert, in the proper order. That’s something.

******************************

Oh, and one more set of CDs that came into my possession this week is the unabridged (9 CD) audio version of the novel The Wife’s Tale by Lori Lansens. This is courtesy of the author herself, who read my earlier blog post lamenting my difficulty in acquiring the audio version of this book. Isn’t that cool? And the timing is perfect for our upcoming driving trip to Quebec.

Odds and sods

I’d mentioned to some that the SD card from our trip had cracked right in half when inserted into the computer. Well, it turns out that Windows 7 has a feature to help you recover from such a thing. To access it, simply remove the card, reinsert it, and accept the repair option. In the end, we lost very few photos. (And I’ve finally managed the finish the web pages about the trip.)

Too bad it took us a few weeks to figure that out.

*****

Have a new iPod classic. Well, new to me. I bought it used on Ebay. It’s in excellent shape, though; looks brand new. I was mainly after greater storage capacity, and boy do I have that now: 120 GB. Given that it’s taken me 5 years to get to 30 GB, that should be enough for some time. It’s also black, which is somewhat cooler-looking than the white. And it has a better screen, a “cover flow” feature (which I’m not entirely sure of the point of, but is weirdly compelling to look at), more information displayed about each song and playlist, and the ability to create Genius playlists on-the-fly.

The Ebay experience was a little stressful due to uncommunicative seller, but to his credit, he was very fast in shipping it out. So fast, in fact, that he didn’t even bother to remove his 60 GB of music first. So much music, so little I have any interest in. To start fresh? Click that scary, never-before-used “Restore Factory Settings” button.

*****

More nice tributes have come in for Pete Quaife of The Kinks, including an obituary in the Globe and Mail on July 1, by one his former—but post-Kinks—bandmates. Also very beautiful was Ray Davies’ dedicated rendition of “Days”, the most perfect song to sing to a departed friend (and a song he’s often associated with Pete in the past). Ray almost loses it on the opening lines.

RIP Pete Quaife

Having gotten a little behind on checking in on Kinks news, I found out only today that Pete Quaife had died. Pete was the original bassist for The Kinks, a founding member of the band who left in 1969. So his bass lines underscored all their great early hits, starting with “You Really Got Me.” His bass is particularly prominent in the opening of one of the most beautiful songs ever, “Waterloo Sunset”. And he even got to sing lead once, on the country-esque “Willesden Green.”

Pete also happens to be the only member of The Kinks I’ve met personally. It was at an academic conference, of all things, albeit one on the subject of Popular Culture. The conference was in Toronto, and Pete was living in Canada at the time. He presented a session on the British Invasion in general, and The Kinks in particular. His presentation was funny and engaging, and he was very congenial about shaking hands afterward.

So, I find myself pretty bummed that he’s gone. At 66, he is the first of the four founding members of The Kinks to die.

An artifact of Pete’s time in Canada: A YouTube video of his appearance on On the Road Again

Magnetic North magnificence

Another thing I like is having Good Seats when I go to any kind of live performance. It’s to the point where I will avoid going completely if I Good Seats aren’t available—or are outrageously priced. Because I’ve tried, and I just know that being too far from the stage really does diminish my enjoyment.

Hence it was that we ended up at a performance of Norman last night.

Norman was playing locally as part of the Magnetic North theatre festival. I had never heard of this festival before, but apparently it’s been running for a number of years now. Every other year it goes to a new Canadian city; otherwise, it’s put on in Ottawa. This year is Kitchener-Waterloo’s turn.

When I heard about it, it sounded like something interesting and that I wanted to support. I was especially excited that Rick Mercer was doing a show as part of the festival. But when I finally remembered to try to get tickets for Rick’s show, the seats just weren’t that Good. Row M, kind of off to the side. It was dimming my enthusiasm.

So I looked through the program for what else might work, and Norman sounded interesting:

Most of us grew up with the work of Norman McLaren. Between slick Saturday morning cartoons or on clunky classroom projectors, McLaren’s mesmerizing work slid unexpectedly into the lives of generations of Canadians.

In the internationally acclaimed Norman, ground-breaking projection technology allows a performer to physically interact with the cinematic universe of award-winning Canadian film pioneer Norman McLaren. Join us as they delve into the vaults of Canada’s National Film Board to combine technology, animation and theatre in an unforgettable visual experience.

Seats were not actually being assigned for this, which made me think they weren’t expecting a big crowd. Smaller crowds always greatly enhance your chance of Good Seats. So I got tickets for that.

The performance was at 7:00. We arrived around 6:35 to find the Centre in the Square looking eerily empty, with maybe 10 other people there at that point? So yeah, no problem getting Good Seats!

As the performance approached, fortunately, more people showed up. The crowd was still one of the smallest I’ve seen at the Centre, but at least had swelled to filled all the best seats in the house (though all the bad ones were empty).

I wasn’t terribly clear on what we were about to see, Jean even less so—he had no idea who Norman McLaren was, and had been telling people he was going to something called Daniel that night. After a short announcement, which concluded with the reminder to turn off your cell phones, the lights dimmed, all went quiet, and…

Someone’s cell phone started ringing. Couldn’t believe it!

That is, until I realized that this was part of the show. The single performer, dancer Peter Trosztmer, talked on the phone on his way to the stage, then addressed us about his obsession with Norman McLaren.

The 90 minutes that followed are really hard to describe, but were completely riveting. Peter would talk about McLaren, show parts of his films, but also interact with them in dance movements. He would dance between the intersecting lines. He would bat away the assembling and dissembling balls. He pulled away Norman’s chair in the well-known Chairy Tale, then interacted with his own. He became one of the dancers in the beautiful Pas de Deux.

I don’t know how they did it all, but it was absolutely brilliant.

Intersected with these film/dance pieces were documentary bits, in which holographic images of various people who worked with McLaren spoke about him. Also shown were some interviews with McLaren himself. It all gave me a much deeper appreciation of McLaren’s genius, particularly his skill at making music visual. It makes me want to go watch a bunch of his movies—which, fortunately, the NFB makes easy to do. (And isn’t it fabulous that staid old Canada funds a film board where an eccentric genius can spend a lifetime producing abstract short films?)

Much as I was taken with the whole thing, I wasn’t sure how Jean would react, but I needn’t have worried. Though he opined that it could perhaps have been a tad shorter, overall, he was in awe. He loved it.

So thanks to all you people who quickly snapped up the Good Mercer Seats, thus leading me to one of most intriguing live performances I’ve ever seen.

Random Internet experiences. (Or are they?)

Jean’s been away camping at Algonquin this weekend. During our thunderstorm, followed by our crazy wind storm, I realized that:

a) I have no idea where we keep flashlights in this house. (Perhaps Jean took them all camping?) In case of evening power outage, I would just be stumbling around in the dark. Or playing with matches. (Fortunately, no power outage occurred.)

b) If it was also happening in Algonquin, that would make canoeing really difficult. Since I did have power, though, a web search seemed to indicate that Algonquin was not in the wind warning region. Snow was a definite possibility, but winds were moderate.

Yep, the Internet is certainly great for finding out stuff. And for getting stuff. Like, I wanted to get a new audiobook for an upcoming trip. I went to Audible.com to see what I could find.

An aside: I used to be a member of Audible.com, but in recent years I’d realized that everything they had seem to also be available on iTunes. And cost less. But the Audible.com website it still a far superior place to go when browsing. It has categories, it has reviews, it has recommended lists. By comparison, shopping for audiobooks on iTunes really sucks.

After poking around for a while on Audible, I settled on Lori Lansens The Wife’s Tale. I wanted to read it anyway; it had great reviews; I thought Jean would also like it; it had a bit of a travel theme…

I did find it a bit odd that it wasn’t available in iTunes, but figured I’d just get it direct from Audible. I filled in the form, credit card number and all, clicked Submit… And was told I couldn’t have it, because I live in Canada.

Lori Lansens, of course, is a Canadian author. But apparently her Canadian publisher, unlike her American one, doesn’t want to bother making an Audible version of her novel available. Sucks for me. But also sucks for her, because after ranting and fuming for a while, web searching to see if there was any other obvious way to get the Lansens audiook (not that I could find, and was surprised to that library audiobooks are sometimes listed as not available? I guess it’s part of the deal of them being free that only so many people can access them at once?), I ended up purchasing the audiobook Nick Hornby’s Juliet, Naked instead.

Then today I got to wondering if software existed that could create sheet music from a song on a CD. Because there are some songs I’d like to play that I don’t have the sheet music for, and I’m really not good at playing by ear.

I wasn’t able to find software quite like that, but I was able to find software that would take a MIDI file and “notate” that. So I downloaded a trial version of that. And then, in two clicks, I was able to find a free MIDI file of exactly the song I was wanting to play, even though it was a fairly obscure album track.

The software will take a little figuring out, but it’s fairly cool. It reads in the file intelligently, then allows me to make some modifications (add lyrics, hide the drum score). Now I seem to have a pretty decent score of this song. Assuming I continue to like this app, I’ll buy it once the trial period ends, as apparently my being Canadian does not prohibit me from owning this particular piece of software.

Though I don’t think it’s directly connected to this issue—I don’t understand it all well enough to say—the apparent randomness of what digital files I am permitted to access (even when willing to pay) nevertheless reminded of this post I that also read this week:

Canadian Prime Minister promises to enact a Canadian DMCA in six weeks

What a goddamned disaster. The Tories have shown — yet again — their utter contempt for public opinion and Canadian culture and small business when these present an inconvenience to more windfall profits for offshore entertainment giants. Remember: thousands of us responded to the Tory inquiry on copyright law, and overwhelmingly, we said we did not want a US-style copyright disaster at home. Remember: hundreds of thousands of us wrote and called our MPs. Remember: Canadian artists’ coalitions fought against the imposition of a DMCA in Canada. Remember: America’s copyright war has been an absolute trainwreck, with tens of thousands facing lawsuits, competition and innovation eroded by DRM, free speech challenged by copyright takedowns, and no improvements for creators or creativity.

There’s only one thing stupider than being the first country to enact the DMCA, in spite of its obvious shortcomings: enacting the DMCA after the first country has spent a decade showing how rotten and backwards this approach to copyright is.

What is a normal dinner party?

Though I like to cook and have a reasonable fondness for the company of others, I don’t host dinner parties that often. This is because I can’t seem to just have “normal” ones. Actually, I’m not even sure what a normal one is, but I think it means basically cooking something you normally do, only a little more of it, adding a dessert and a couple nice bottles of wine, and inviting a few other people over to help you eat it.

I always seem to go bigger and more complicated. Perhaps it’s true that everyone needs a challenge once in a while, and this is one I set up for myself. So, for my most recent dinner party, the idea was trying to “harmonize the food and wine for each course to a particular soundtrack, based on mood.” Which indeed was a wee bit of a challenge.

Selecting the moods

How many courses, and which mood would each have? At the start, the only thing that seemed obvious was that the start [snacks] needed to exciting and energizing, while dessert was by nature romantic. Retrospectively only, I realized that what I did from there was segue gradually down from that starting mood to the ending one. So exciting gave way to merely happy [appetizers], then to engaged/interested [main course], and onto refreshed (which I’m still not convinced is actually a mood) [palette cleanser], and finally to the relaxed romantic.

Playlist assembly

Again, the starts and ends were quite easy. Exciting and energizing = dance music to me, and I already had a large Dance playlist. I could afford to get pretty picky with that, knocking out the slower numbers and the ones I didn’t like as much, and still being left with a good 7 hours of thumpa thumpa. And I similarly had a good start on the romantic already, which just required a little removal of some racier items, and the addition of some more love songs.

But happy was tough. Apparently I’m not that big a fan of the upbeat pop tune. I was really having to comb through to find enough to last a sufficient amount of time.

For engaged I looked for songs that were of moderate mellowness and featured smart lyrics. I am much more of a fan of this type of music, it appears, so this was easier to put together. A lot of women artists feaured here—Alanis, Tori, Sarah… even a little Madonna.

And refreshing? I decided that was electronica… Not sure why. As I have only about 12 electronica songs, it was easy to gather them, and that was long enough for the palette cleanser course.

Food and wine

Jean was a big help in getting this part settled. I really didn’t want to do fiddly little appetizer things, because I hate making that kind of stuff, but I was failing to see how I could possibly make soup or salad “fun”. He’s the one who suggested that a two-tone soup, which we’d once had at a restaurant, could be kind of fun, especially with chow mein noodles. So that’s what I went with, adapting a carrot and parsnip recipe that was meant to have everything combined, but instead cooking it in two parts.

Similarly, it was his point that salmon seemed too dull to be the only main course protein on offer, leading to the idea of offering duck as well. Which of course meant we had to serve Pinot Noir, the intellectual wine—as we learned at the KW Symphony’s food and wine concert. And that concert is also where I got the Julia Child chocolate recipe that I thought I would be a suitable dessert.

With those main items selected, the rest just had to be built up around it. And we were so well stocked in wine at this point, selecting those proved pretty easy, and required no special trips to the LCBO. Everything was already in our wine cupboard.

Inviting guests

Oh yeah, the people! On the first date we proposed, very few could actually attend. So we were pretty surprised when, on the second day we suggested, everyone could go! But that’s a good problem to have, since we wouldn’t have invited them if we didn’t want to see them. So we were eight guests, plus Jean and me. Inventory revealed we actually did have enough chairs and dishes—as long as we weren’t too fussy about everything matching—and a little creativity allowed everyone to sit at the same table, albeit covered with three different, small table cloths.

Everyone was willing and able to bring something, and that also helped round out the menu and assuage concerns that someone would go hungry. And on the day, all were really great about helping with music changing, wine opening, and dish delivery and removal. I could definitely see why I wanted to spend time with these people.

So how did it go?

Generally good, I think? Jean and I had fun. Everyone else claimed they did too. I felt most items I made turned out well, and certainly everything brought was delicious. Definitely the most challenging part was the final preparation of the main courses, where we had to cook duck, beans, salmon in sequence in the oven (cause each needed a different temperature) while also preparing the sweet potatoes and reheating the magret, but we mostly managed that. (We probably would have done a little better had we not already had a couple glasses of wine by then, but hey, it was a party, and we didn’t have to drive.)

After that, everything was actually pretty easy to serve, as it was all ready, so then we could largely relax and just enjoy the company and conversation.

As I had typed up the menu for the whole evening, I’ll copy that in here now. Thereby making this the longest post ever!

Continue reading “What is a normal dinner party?” →

Thank you. Thank you very much.

I can’t say that I was never a big Elvis fan.

Back in Grade 3, my teacher was a nun. (Catholic school system, natch.) Over lunch, she’d play music. Some French stuff (it was also a French school). Some religious stuff. And an Elvis album.

Now, Elvis (I’ve since learned) has done a lot of gospel, but that’s not what she played. She played his rock’n’roll stuff. I didn’t find it odd at the time, but thinking back on it now, it does seem a bit odd. But it also says something about his mass appeal (pun not intended, but there it is).

Anyway, of all the music she played, this was the only bit I really cottoned to. I liked me some Elvis. I started bugging my parents to get me one of his albums. Eventually they did—one of the greatest hits things, I guess. I would play it, studiously looking over the cover art, the song list.

But not that long after, I moved on to my next musical love, the Bay City Rollers. (Eight-year-olds are so flighty.) And I never really got back to Elvis. I did and do appreciate that he’s a very influential figure in music history. I watched Jonathan Rhys in the really good Elvis miniseries, and thought that was a very poignant story. But I don’t really listen to him much, and can’t really call myself a fan.

So I had no particular expectations walking into the latest Electric Thursdays concert, Elvis: The Way It Was. But the few I had were immediately shattered when the band walked out to join the KW Symphony. Hey, where’s Peter Brennan? Where’s the Jean’s’Classics band?

Turns out that this was to be the first-ever Electric Thursdays concert to not be scored by Brennan. Instead, conductor Daniel Warren took the honours. In fact, the whole thing was his idea.

Elvis impersonator Stephen Kabakos.
Stephen Kabakos as Elvis

The part of “Elvis” was played Stephen Kabakos. In look and sound, he was a reasonable facsimile of “The King.” But he didn’t pretend to be Elvis. He referred to himself as Stephen, and said he was just playing tribute to his favorite singer.

The show was structured according to various famous Elvis appearances: The Hawaii concert. The movies. The Ed Sullivan Show. Vegas. The comeback show in ’68 (hey, I remember that one from the Jonathan Rhys movie!). This required a certain number of costume changes, and you could definitely feel the energy drop when Kabakos wasn’t on stage. But it was fun to get kind of a “tour” of his career highlights.

The sound mix was a bit dodgy at first—we couldn’t hear the backup singers at all, and could just barely hear “Elvis”—but fortunately that was quickly resolved. I can’t really comment on the quality of the orchestration, as it really felt like it was taking a backseat to the whole Elvis show most of the time. But certainly the arrangement of “Bridge Over Troubled Water” stood out as particularly beautiful and effective.

Kabakos was in good voice, and was charismatic and funny. “Know why Elvis walked the way he did? To get the hair bounce just right,” he said, demonstrating a “normal” walk with no bounce, and the Elvis swagger, with bounce.

“Why do I always end up sitting in front of a guy?” He asked, during the “sit down at the edge of the stage and sing right into the audience” portion of “Love Me Tender”.

“The men are always dragged kicking and screaming to an Elvis show. The women are like, ‘We’re going to be late’! But guys… The suits are available for rent. Totally worth it.”

To an audience shout that he “take it off” when he commented that the leather outfit was very warm, “You have no idea how long it took to put it on!”

All in all, a fun night out, and a worthy tribute.

Just banging on my old piano

Thought I might periodically start writing about “a few of my favorite thing”—my own, narcissistic version of Stuff White People Like, I suppose. So I’ll get to PVRs, chocolate, and Zomig eventually, but I’d like to just start with my piano. Which I’ve talked about before, but now I have pictures!

Electronic piano that looks like a regular piano, in a corner, with a black and white painting of Paris above it, a lamp on the side, and sheet music. And a piano bench.

It’s gorgeous to look at. It finishes off the living room very nicely. (That room’s come a long way from its empty desolation when we first moved in with only condo contents.)

But more important, it sounds great. Even though I’m the one playing it, and I’m hardly the world’s most gifted player. When we were shopping for it, I also tried out the smaller, cheaper version in the same brand (the one I’d walked in expecting to buy), and the larger, more expensive one with a million complicated doo-dads. Of the three, this one just had the nicest tones. The piano player’s piano, the salesman said.

So I love playing the thing. I’m having no trouble motivating myself for twice weekly practice sessions, which of course is also contributing to it not sound too bad when I play. I wish I had even more time for it.

In shopping for it, we discovered that we get could  a real piano for less than we paid for this digital one. Not a grand, of course. An upright. A “starter” upright, whatever that means. But we stuck with digital, mainly for not having to tune it, for it being so much lighter and more portable, and for being able to get the look of a grand, without the expense.

But I also like some of the digital features. For example, though I do mostly play in “piano” mode, I can choose between Piano 1 and Piano 2. And though I can’t explain to you the difference between the two, I can hear it, and some songs sound better in one or the other. I also occasionally use the more exotic sounds, like harpsichord for Bach, or strings+piano for, say, The Beatles, or electric piano for Queen’s “You’re My Best Friend”. The one thing I’m actually missing a bit from my old keyboard are the synthesizer sounds, but I can somewhat approximate that with some of the weird vibraphone mixes included.

You can also fine-tune things. Like I was finding the touch a little too resistant (after years of playing on a keyboard with no touch sensitivity at all), so I was able to lower that. I can increase the resonance, so the sounds is fuller and richer without me playing any better. And I can take songs in impossible keys, like “Love Reign O’er Me”, which has six (!) flats, and transpose them into another key. Allowing me to play the song as written, except with only three flats (it somehow feels like a song that needs some flats), but it comes out sounding OK, and I can actually get through it.

So yeah, my piano is definitely on the list of things I like.

Something else I like? That Glee is back soon. With Madonna! And Joss! And Neil Patrick Harris! And The Beatles! Squee…