The Cup – Soccer FAQ

Tomorrow at Wembley Stadium, Arsenal will face Aston Villa in the final of the FA Cup, the oldest and most-revered competition on the football calendar.  Dave Thompson took a long look at “The Cup” in Soccer FAQ and recalled some of its more memorable finals.

00126956Legendary FA Cup finals dot the history books. Prior to 1923, the Cup final had never had a home; rather, it wandered around different grounds and even different cities. The 1923 eventwas the first to be staged at the newly built, suitably grandiose Wembley Stadium, and such was the anticipation surrounding the event that no fewer than 126,000 people attended that game—and possibly more; some reports claim up to

200,000 were present, once the barriers broke and the crowds surged in.

The game itself, Bolton Wanderers vs. West Ham United, may or may not have been memorable. But history has never forgotten the image of the police officer riding a white horse around the perimeter of the field, keeping the crowds in order.

There was the 1953 final, when the entire British Isles, it was said, was willing Stanley Matthews’ Blackpool team to victory, simply out of love and admiration for one of the finest players ever seen on an English field. They were rewarded with a seven-goal thriller, and Blackpool triumphing over (again) Bolton Wanderers.

Sometimes it is not entire games, but mere incidents within them, or anecdotes around them, that consign a Final to legendary status. The passage of play, in the dying moments of the 1983 clash between Manchester United and Brighton, which culminated with an excited television commentator insisting “and Smith must score…”—only for Brighton striker Smith not to score, and his side’s chance of victory reduced to a replay instead.

The 1987 final when Coventry City not only shocked much-fancied Spurs to take the trophy home with them, they also finally removed themselves from the punchline to one of Monty Python’s Flying Circus’s most venerable routines, that moment in the Communist Quiz when Che Guevara is asked the fateful question, “In what year did Coventry City last win the FA Cup?” The answer—which neither Che, nor fellow competitors Mao Tse Tung, Lenin, and Karl Marx could supply—was “Coventry City have never won the FA Cup. It was a trick question.” Not any longer. Although there was certainly a Pythonesque surrealism to the side’s defense of the trophy the following season. They were bundled out in the third round by non-league Sutton United.

We remember the 1988 game, when all-conquering Liverpool faced unfancied Wimbledon, and not only lost 1–0, but also earned the ignominious title of becoming the first team ever to have a penalty saved in a Wembley final. Moments like these, and a hundred more besides, are what long ago established the FA Cup final among the most fondly remembered, and hungrily anticipated dates in the entire soccer calendar, in countries all over the world.

Applause Books publishes American Neo-Noir

Applause Books recently released American Neo Noir: The Movie Never Ends! This excerpt from the book provides a definition of the genre:

Part One

Classic Becomes Neo

The movie never ends

It goes on and on and on and on.

Strangers waiting, up and down the boulevard

Their shadows searching in the night

Streetlights people, living just to find emotion

Hiding somewhere in the night.

Steve Perry & Neal Schon

A Definition

After many years, decades actually, of critical debate about what constitutes a film noir, the issue is still not entirely resolved. For us, film noir was never a genre but an American film movement that was defined by style as much as content, which began around the same time as World War II and ended just twenty years later.

That time frame, at least, is now almost universally accepted. The classic period of film noir spans the years in which American filmmakers created and sustained the cycle over the course of more than four hundred feature films. It began just after 1940 with The Maltese Falcon and wound down around 1960 or shortly after Touch of Evil (1958). Certainly there were prototypes and precursors of the movement going back to the acme of the gangster genre in the early 1930s. And there were many stragglers, late entries by Sam Fuller and other independent directors, but before the mid-1960s film noir’s classic period had run its course.

There is no precise moment or movie that marks the beginning of neonoir. For us, neo-noir is more genre than movement, a mimicking of the style and content of the classic period, the best early example of which is John Boorman’s 1967 Point Blank, an adaptation of The Hunter, part of a postwar, hard-boiled series of “Parker” novels about the criminal underworld by Donald Westlake writing as Richard Stark. Like its antecedent and from the first, neonoir would also be tied closely to a literary movement, riffs on the work of Hammett, Chandler, and McCoy, starting with the gritty exploration of sociopathy by Jim Thompson, the smug mysogyny of Spillane’s Mike Hammer and then a next generation that included Westlake, Ross Macdonald, and Elmore Leonard. 

While such novelists pushed their violent protagonists even further down Chandler’s mean streets dark with something more than night, the neo-noir genre was defined by screenwriters and directors who had grown up watching movies during the classic period. Some of the early neo-noir were “retro-noir,” narratives set in the not-to-distant past, whose characters wore period costumes and drove vintage cars, such as the private detectives Jake Gittes in Chinatown (1974), the classic-period icon Robert Mitchum as an older and more fatigued Philip Marlowe in Farewell, My Lovely (1975), or Det. Tom Spellacy investigating a fictionalized “Black Dahlia” in True Confessions (1981). The multinational creative personnel of a movie like Chinatown written by American Robert Towne and directed by Polish émigré Roman Polanski, reenacted such classic-period relationships as Raymond Chandler and Billy Wilder crafting Double Indemnity or Herman Mankiewicz and Robert Siodmak on Christmas Holiday (both 1944).

The most self-conscious of the early neo-noirs came from writer/directors. Walter Hill—who had previously scripted the 1972 paean Hickey & Boggs where old-school PIs discover that “there’s nothing left of this profession…it’s all over, it’s not about anything”—infused 1978’s The Driver with a noir style that echoed Kubrick’s The Killing (1957) and De Toth’s Crime Wave (1954). Hill’s characters are so pointedly archetypal that they do not even have names: they are simply the Driver, the Detective, and the Player. Three years later Body Heat (1981), Lawrence Kasdan’s homage to Double Indemnity, set a new standard for femme fatales. By 1987 the double-crosses and twisted psychology in David Mamet’s House of Games (1987) fully evoked its creator’s intent: “I am very familiar with noir…and I love it. I tried to be true.”

At the height of the classic period individual noir films transcended personal and generic outlook and reflected the cultural preoccupations of America no matter where the filmmakers were born. From the late 1970s to present, in a “neo-noir” period, many of the productions that again create the noir mood, whether in remakes or new narratives, have been undertaken by filmmakers cognizant of a heritage and intent on placing their own interpretation on it. As the various interviews conducted by scholar Todd Erickson and reproduced in his thesis where the term neo-noir was coined affirm, most of the filmmakers approach neo-noir with a conscious, expressive intent.

If neo-noir is to some extent, as in the classic period, America’s stylized vision of itself, one might expect a cynicism made even harsher by decades of cold war, nuclear peril, fiscal uncertainty, the threat of terrorism, millennial dystopia, and cultural upheaval. While the emphasis may have shifted among these social realities, the outpouring of films has continued. The actual results remain mixed. One aspect of film noir that many filmmakers have chosen to underscore is its forlorn romanticism, the need to find love and honor in a new society that venerates only sex and money. Many others have followed alternative narrative paths blazed in the classic period, and as a result any overview such as this needs a new “family tree” to trace through the titles. Of course, as with critic Raymond Durgnat’s original essay, many of the categories overlap and intersect, and many titles crossover several branches.

8 x 10 in. cutout print

Now available: Getting Started with Music Production

Getting Started with Music Production

How to record, edit, and mix music using a digital audio workstation

 by Robert Willey

Website

Hal Leonard Books, the musician’s best source of books on the music business, audio technology, instrument history, and more, has published Getting Started with Music Production. Written by Dr. Robert Willey, recipient of the Excellence in Teaching Award 2013 from the UL Lafayette Foundation, this book will help readers quickly learn how to record and mix music with a digital audio workstation (DAW), understand basic audio principles, and will help more advanced practitioners hone their music production skills.

Getting Started with Music Production‘s logically structured, hands-on approach works well for self-guided learning and for activity-oriented courses. The illustrations and examples are built around Studio One from Presonus (most exercises can be done with the free version), but the fundamental concepts and techniques transfer seamlessly to any modern DAQ, such as Logic and Pro Tools.

As digital technology has fundamentally changed the way music is produced, Dr. Willey strives to teach musicians and budding audio engineers how to take full advantage of the new tools and unleash their creativity.

“The students have to know what’s behind it. How analog to digital conversion works, how computers represent sounds, and the principals of recording, where to pith the microphone, and things like that,” he says. “The more knowledgeable they are as students, and the broader they are as musicians, the more they’ll be able to adjust to the future changes in the industry.”

To help the reader apply what they learn, Dr. Willey includes a wealth of practice exercises; quiz questions, activities for all levels, and complete mix sessions. Audio and video examples further explain and expand on the concepts presented. All supporting media is provided online for easy access from a computer or mobile device.

Getting Started with Music Production is intended for college music majors, high school students, and independent learners. It is the perfect guide for those who produce music at home, and the ideal textbook for teachers. The first ten chapters can be used by schools on the quarter system, with an additional five chapters provided for those on the semester system.

“What Robert brings to the table is so unique: the ability to make the connection between all the different technologies and true musicianship,” says Gordon Brooks, Dean, College of Arts.

John Mlynczak, the Education Market Manager for PreSonus, talks to Dr. Robert Willey about the book at http://onstageandbackstage.libsyn.com/robert-willey-chats-with-john-mlynczak (podcast).

$29.99
8.5″ x 11″
186 pages
9781480393790
Hal Leonard Books, an imprint of Hal Leonard Performing Arts Publishing Group

ABOUT THE AUTHOR:

Robert Willey is a keyboard player, composer, and music technologist with a long background in higher education. After earning a PhD from the University of California, San Diego, he spent two years in Brazil as a Fulbright Scholar and visiting professor of computer music composition and performance, chamber music, improvisation, arranging, and distance education course design. He returned to the United States to teach popular music theory, computer literacy, and rock band at the State University of New York College at Oneonta; later, at the University of Louisiana at Lafayette, he taught music theory, music technology, synthesis, recording, live sound, music appreciation, music industry, and jazz combo. He is presently the director of the Music Media Production and Industry program at Ball State University. His publications include Louisiana Creole Fiddle, Brazilian Piano, and the DVD From La La to Zydeco: Creole and Zydeco Music from Louisiana. He lives in Muncie, Indiana.

00128992

Dead reckoning at Merriweather Post

Tony Sclafani, the author of The Grateful Dead FAQ, wrote this article for the Baltimore Sun in advance of this week’s Dead concert in Baltimore!

00333698Will Columbia be ready for another Deadhead invasion when four of the surviving members of the Grateful Dead come to town May 14 to play a sold-out show at Merriweather Post Pavilion?

Longtime Columbia residents are unlikely to forget when the Grateful Dead performed in town for three summers in a row back in the 1980s. Throngs of the band’s followers trucked into town clad in headbands and colorful tie-dye shirts and skirts. They then proceeded to camp out in Symphony Woods and bathe in the fountains at the Mall in Columbia.

To use a Deadhead expression, this “freaked out” a lot of locals. After one too many weird Deadhead sightings, disgruntled residents held meetings with local police, reporters wrote news stories, and opposing opinions flew back and forth in the pages of the Columbia Flier.

Talk of all this controversy still goes on in places like the Facebook page “You know you grew up in Columbia Md when…” where it’s rumored the Dead were eventually banned from Merriweather.

All of which begs the question — Is the band back because the ban was lifted?

No, because “there was never a ban,” says Jean Parker, Merriweather’s longtime general manager. “That is not accurate.”

Part of the reason the rumor has been kept alive all these years is because when people Google the topic, what comes up is a Los Angeles Times article from June 6, 1990, titled “Pavilion bans Grateful Dead.” But that article was factually incorrect, says Times’ historian, Ralph Drew, by email. “On Friday, June 8, 1990, the Los Angeles Times printed a correction,” he notes.

A Pavilion official first dispelled this rumor in a letter after being queried by Columbia resident John Sybert in 1994. “Merriweather has never banned any acts from performing at its venue and, to my knowledge, neither has the community,” wrote customer relations manager Julie M. Kershner.

The reason the band didn’t return to Merriweather after 1985 (save for a 1989 solo Garcia appearance) was because they had outgrown the venue.

Click here to read the rest of the article!

Components of DIY Marketing

Bobby Borg, author of Music Marketing for the DIY Musician, was featured in the spring issue of Berklee Today, the Berklee College of Music’s alumni magazine!

00124611Components of DIY Marketing

Marketing is the complete process of creating products and services to satisfy your target audience, build awareness, and make sales. It includes researching, goal setting, strategizing, and executing. In this article, we discuss three aspects of DIY marketing that are often overlooked by musicians who believe that marketing simply involves social media and YouTube videos. Here we focus on building a brand identity with slogans, testing products among fans, and measuring marketing efforts.

1. Building Your Brand Identity with Slogans

What do Apple, Ozzy Osbourne, and hundreds of other successful companies and brands all have in common? They all employ brand slogans to build their identity. Slogans provide further information about a brand, communicate an overall philosophy, and increase memorability. They can even become part of your brand’s logo or be used to market a specific product or service, such as your own album or concert tour. Cypress Hill branded its Smoke Out Festival with the slogan, “An all day mind altering event.” And Bring Me the Horizon (a British metal-core outfit) branded its album Suicide Season with the slogan, “A perfect soundtrack to a life spent on the edge.” No confusion there.

What follows are several tips for creating a slogan that can make a lasting impression with your intended audience. Remember, slogans don’t have to be grammatically correct; but they must be pithy and direct.

Reflect the identity that you want to project. To better communicate what you do and who you are, suggest the personality and culture you want to project within your slogan. To emphasize his punk roots and to pay homage to icon Iggy Pop, for example, Henry Rollins used “Search and Destroy” as a slogan to accompany his logo. In fact, Rollins even tattooed the logo on his back and uses it on T-shirts and other merchandise. The Los Angeles indie metal band Clepto, which has Saudi Arabian roots, uses the slogan “Thrash Punk Gypsies,” which sums up the band’s sound and spirit.

Speak to your audience. When creating your slogan, consider whom you are trying to appeal to. Understanding your likely target audience is crucial. Get a sense of your audience members’ age, gender, education level, and income. Also, research their activities, interests, and opinions, and understand behavioral issues and the things that motivate them. Also consider the regions where your audience is located. The band House of Pain uses the slogan “Fine Malt Lyrics” in its logo to pay homage to its home city of Boston and to the Irish community there. Harley Davidson uses “American by Birth. Rebel by Choice” to pay tribute to the proud and loyal group of riders in the United States and the free country in which the brand was founded.

Stand out from the competition. Study your competitors, who may share a similar audience, so you can highlight what makes you unique. The musical group Pink Martini, which has an expansive musical style, uses the slogan “Music of the world, without being world music” to stand out. The metal band Manowar is listed in The Guinness World Book of Records as the loudest band in the world and has had that fact as its slogan for many years.

Stress the benefits. Create a slogan that draws attention to benefits that are important to your target audience and that you can honestly provide. Apple, undoubtedly one of the biggest companies in music, used the slogan “1,000 songs in your pocket” to promote its first-generation iPod and emphasize its large storage capacity. Recently, Apple used “Any kind of file, on all your devices” to promote the cloud. And guitarist Slash recently used the slogan “With everyone, from Ozzy to Fergie” to promote his new solo album that featured numerous guests. In all cases, note how these slogans all sell the benefits. They answer the customer question “What’s in it for me?”

Make it memorable. Making your slogan rhyme can be an advantage. Big-band legend Benny Goodman used the slogan “The King of Swing” throughout his career, and it was often used to introduce him on radio and television shows. His slogan was short and catchy.

Keep it short. Limit your slogan to just one or a few simple words. Also consider what might look cool and be adaptable on your products and marketing tools, such as your business cards, websites, e-mail signatures, etc. For instance, Bruce Springsteen used “The Boss” interchangeably with his own name.

Be believable; don’t exaggerate. Your slogan should not be perceived as out of proportion. Using language like “The greatest band on earth” when you’re starting out is just silly. Yes, jazz legend Jaco Pastorius called himself “The World’s Greatest Bass Player,” and the Rolling Stones adopted the slogan “The World’s Greatest Rock Band,” but both artists could back it up.

Offer an explanation. Use a descriptive tagline that tells people exactly what you are. For instance, the classic rock band ZZ Top uses the tagline “That lil’ ol’ band from Texas” throughout its website and on other PR materials. Billy Joel used “The Piano Man” in all his publicity and released a record of the same name.

Don’t confuse your audience. The whole point of a slogan or tagline is to educate your market about what you do, so don’t make the message confusing for your audience. The members of the Beatles, four in total, whose music was no doubt fabulous, adopted the clear and direct slogan “The Fab Four” for use in their publicity posters and other media. In contrast, the band Green Jello (renamed Green Jelly for legal reasons) used the slogan “Green Jello Sucks.” The name is confusing: Did the group’s music really suck? Was it taking a stab at the makers of the Jello? Or was it something band members did on stage? Yikes! In any case, it’s not a flattering, legally smart, or clear slogan. Don’t be confusing.

Look to your fans. Ask your most-likely fans how they might sum you up in a word or phrase, how they think you’re different, and what they feel is most important to them. You could even hold a contest and offer a prize. Not only can you form a closer bond with fans by getting them involved but also you may find a cool tagline to brand your band.

Click here to read the rest!

Also, Bobby will be speaking at Berklee College on June 20th! He will be teaching “Ten Steps of the Marketing Process.” In Borg’s “Ten Steps of the Marketing Process,” students will learn about tried-and-tested concepts used by the world’s most innovative companies, including: describing a vision, identifying a market need, analyzing target fans, learning from competitors, demoing products and services, setting marketing plan goals, and finding the perfect mix of new marketing strategies ranging from branding, product, price, place, promotion, and marketing information systems. Following Borg’s keynote, he will be signing his book Music Marketing For The DIY Musician at the Berklee Bookstore.

Cy Coleman Book Giveaway – Classic Movie Hub

Classic Movie Hub is hosting a You Fascinate Me So:

The Life and Times of Cy Coleman Book Giveaway!

00122483From now through Saturday, June 6th, Classic Movie Hub will be giving away a total of SIX copies of You Fascinate Me So: The Life and Times of Cy Coleman by Andy Propst!

THERE ARE TWO WAYS TO ENTER:

TO ENTER via TWITTER (Four Chances to Win):

1.) Follow @ClassicMovieHub on Twitter for the contest announcements.

2.) Successfully complete a qualifying entry task during the specified contest week.

3.) One winner will be chosen at random at the end of each specified contest week and announced on Twitter the following day.

4.) One book will be given away each specified contest week during the contest period, for a total giveaway of four books within four weeks.

TO ENTER via FACEBOOK (Two Chances to Win):

1.) Visit Classic Movie Hub on Facebook or the CMH Blog for the contest announcement.

2.) Successfully complete a qualifying entry task during the specified contest period.

3.) Two winners will be chosen at random at the end of the specified contest period and announced on Facebook and the Blog the following day.

4.) Two books will be given away during the contest period, for a total giveaway of two books within one month.

PLEASE NOTE for all prizing: Only Continental United States (excluding Alaska, Hawaii, and Puerto Rico) and Canada residents are eligible.

For more information, click here!

On the Aisle with Larry

Larry Harbison, editor of How I Did It: Establishing a Playwriting Career, recently reviewed On the Twentieth Century in his Playfixer blog! Read his opinion on the musical revival, as well as his opinions on several other musicals currently on and off Broadway!

On the Aisle with Larry

Lawrence Harbison, The Playfixer, brings you up to date with what’s hot and what’s not in New York. In this column, Larry reports on AIRLINE HIGHWAY, DISENCHANTED, SOMETHING ROTTEN, THE VISIT, ON THE TWENTIETH CENTURY and IT SHOULDA BEEN YOU.

AIR279x238pxLisa D’Amour’s Airline Highway, a Steppenwolf import currently at the Samuel J.Friedman Theatre, is something of a throwback which put me in mind of the glory days of Circle Rep. It’s a thoroughly realistic large-cast slice of life play more about its characters than its plot. Think The Hot L Baltimore. Think Balm in Gilead (which was also a Steppenwolf import, directed by John Malkovich, with a sensational performance by an unknown-to-New York actress named Laurie Metcalfe. Both plays were by the late Lanford Wilson). D’Amour’s play is about the denizens of a seedy motel in New Orleans called The Humming Bird. There’s a seen-better-days hooker (played wonderfully by Julie White); there’s a transvestite with a heart of gold named Sissy Na Na, played with quite a flair by J. Todd Freedman (both actors are nominated for Tony Awards, by the way). What plot there is concerned the funeral of an elderly resident named Miss Ruby, once a madam. She ain’t dead yet (she’s in bad shape up in her room) but has requested that her funeral be held before her imminent demise so she can attend it. Joe Mantello has elicited fantastic performances from his ensemble cast.

As a Lanford Wilson fan, I was thrilled to see that his legacy is carrying on.

Disenchanted, at the Westside Theatre, spoofs heroines from Disney animated films, such as Belle and the Little Mermaid, done by an energetic cast of 5 women. The songs by Dennis T. deal_1413916803Giacino (who also wrote the sorta one-joke book) are tuneful and clever. This is a great “Girls Night Out” show. I rolled my eyes more than once, but the ladies in  the audience were whooping it up.

Something Rotten, at the St. James Theatre, is that SR-0026M-TelechargeLogos-176x176rarity these days – a Broadway musical which is not based on a popular film. It’s about a failing theatre troupe in Elizabethan London who need to come up with a New Idea which will trump their main competition, a guy named Shakespeare. Nick Bottom, the troupe’s leader, goes to a soothsayer, who predicts that the Next Big Thing will be musical comedy, so Nigel and his writer brother, Nigel, come up with a ridiculous musical comedy called “Omelette,” about a Danish prince trying to make eggs (The addled soothsayer, trying to come up with Shakespeare’s next hit so the Bottom brothers can beat him to the punch, scrambles the title, as it were).

Brian D’Arcy James and John Cariani are hilarious as the Bottoms, and Brad Oscar equally so as the Soothsayer, Thomas Nostradamus (not him – his nephew). The book, by Karey Kirkpatrick and John O’Farrell and the  music and lyrics by Wayne and Carey Kirkpatrick are as funny as The Producers or Spamalot, loaded with witty references to musicals of the future, such as Cats.

You won’t find a funnier show on Broadway, except for maybe The Book of Mormon, and who can get into that?

The Visit, at the Lyceum Theatre, is a musicalization by Kander and Ebb of the great play of the99492 same title by Swiss playwright Friedrich Durrenmatt, about the world’s wealthiest woman who returns to her impoverished home town to enact revenge on the man who wronged her as a girl. She offers to give every citizen a million marks if they will kill the guy. Of course, everyone refuses – and then starts buying things on credit. Chita Rivera, although she’s more than a little creaky by this point, is striking as Claire, the rich woman intent on revenge, and Rogers Rees is touching her lover long ago whom she wants killed.

I think this is well worth seeing – but do so soon, because after the Tony Awards I don’t think it will be around much longer. There’s just too much competition, and this is not exactly an “audience-friendly” show.

The revival of On the Twentieth Century (book by Comden and Green, music by Cy Coleman), at the American Airlines Theatre is, if anything, even better than the original on-the-20th-century-large-643x441production. It stars Peter Gallagher as an insolvent Broadway producer named Oscar Jaffe and Kristin Chenoweth as the screen goddess he discovered and bedded years ago, named Lili Garland. who are both on the Twentieth Century Limited on its way from Chicago to New York. If Oscar can get Lily to star in his next Broadway project, a ridiculous epic of Joan of Arc which hasn’t even been written yet, all his woes are over. Problem is, she hates him. She’s travelling with her boy toy and recent co-star, Bruce Granit, played wonderfully by Andy Karl. Gallagher and Chenoweth and simply sensational, as are Scott Ellis’ direction, Warren Carlyle’s choreography and William Ivey Long’s sumptuous costumes.

You’ll get real bang for your buck with this one. Don’t miss it.

On the other hand, you could skip It Shoulda Been You at the Brooks Atkinson Theatre, a itshouldabeenyoucontrived, unfunny musical loaded with tired ethnic humor about a wedding. She’s Jewish – he’s a goy. Both, it turns out, are gay. Oy, vey …

 

 

Also, be sure to check out both How I Did It: Establishing a Playwriting Career and You Fascinate Me So: The Life and Times of Cy Coleman!

HOW I DID IT F-COV FINAL00122483