FB neighborhood groups are pretty bad. Mamdani embraced YIMBY, a nail in the coffin for left-NIMBYism, but nobody seemed to get the memo. currently PLG is freaking out about a market rate building they claim is bringing gentrification, across the street from deed restricted $3m 1 fam houses.
Brooklyn row house with mini split condensers on the front facade
this is the future liberals want (in the borough park / Kensington border) c c @stephenjacobsmith.com
Feel like we need a derek guy essay about how Don Johnson's very short jacket bunches up on his back when he raises his gun.
I will cover mine with a used moist towelette.
broadway employee here; i often do take the local one stop, but also if you exit at the northwest corner of 7th ave and 42nd and make your way 1 block (with decently wide sidewalks) to 8th ave you can then use the big pedestrian lane to go north and south and then go back east as needed.
Is the NY Phil going to do Yub Nub? www.nyphil.org/concerts-tic...
great way to spend a day with a kid, easy to get to off the subway, movies, bookstore, food hall, & pick up some groceries before you leave.
damn. I guess this is why I know 10 people (mostly NYC jazz musicians) who moved to Portugal in the last couple years.
An ILXor friend posting just now in response to that Melania thing: "lying flotus." I think I'm done for the day after that.
how do these work, with no or virtually no condo fees? www.nytimes.com/2026/04/03/r...
makes sense. I think there are some Herrmann scores that are interesting purely because of orchestration. Zimmer scores often have 0 orchestration but quite a lot of timbre. When I hear them I just picture him watching the scenes and improvising pads on a Korg M1.
There's an anecdote in the Herrmann book about how Herrmann looked down on anyone who used an orchestrator (which was most everone else). He teased Goldsmith about it, even though he grudgingly respected him. He would be outraged by the concept of a "supervising orchetrator".
On this note, fellow jazz trombone player/composer Ed Neumeister did some orchestration that veered into composition for some pirates movies. He was drafted into it by fellow jazz trombone player/orchestrator Bruce Fowler. some of the cues were, like, 45 seconds. Team was all over the world.
His earliest scores were some of the worst (as good as it gets = awful). Pirates are shlock. The Nolan movies were mid period; maybe that's his golden age? or his unpaid staff's golden age? also if his recent scores suck, does that mean his unpaid staff sucks and he was better without them? :)
Lehman really goes in deep in this chapter and it’s fascinating to see it treated seriously, instead of just, oh he didn’t write it, and it’s derivative. The best ones are really good!
This is ok. We can still engage with the art. Miles davis, composer, is also a sort of aggregator. A film director is a manager of many different people yet they are in charge…anyway as father of an 8 yr old there’s lots of zimmer in my house, good and bad.
anyway, recently rewatched the Nolan Batman trilogy and those are very good. Whether he is overseeing a team or not, it still works. Maybe we should refer to him as more of an overseer than a composer.
He acknowledges the short comings and the criticism but makes you respect zimms in a new way!
The prominence of Zimmer’s epic style—and the larger trends in film scor- ing that it represents—has meant that the composer’s ouput has been subject to a substantial amount of critique among those who pay attention to movie music. This includes both academic and internet-enthusiast subcultures. A full survey of the critical reception to Zimmer’s music is beyond the scope of this chapter, but it would be irresponsible to launch into discussion of Zimmer’s stylistic traits without mentioning at least some of the problems that have been raised with his approach. For as much as huge influence (not to mention intense fandom) implies a broad acceptance of Zimmer’s style, the composer’s music has also spawned some remarkably passionate opposition. Some can be attributed to the simple perils of success. For example, there are the inevita- ble accusations—many justified—of derivativeness (especially from classical music) that hound every prominent film composer.13 Allegations of unorigi- nality are made easier by the fact that Zimmer’s musical vocabulary is limited and mostly quite conventional; he seemingly has little interest in harmony outside the tonal Common Practice, and certainly not with genuine avant- garde or modernist idioms. His cues are often thickly scored, but without being finely wrought contrapuntally. Countermelodies are fleeting, genuine inde- pendence of lines is rare (but not nonexistent), and often the middle range of the orchestra is treated purely as a vehicle for static sustained chord tones (if it is filled at all).
My own position differs from Buhler and Neumeyer’s, in that I find Zimmer’s music, particularly his epic style, to be brimming with “strongly individual- izing stylistic markers.” Part of Zimmer’s appeal to filmmakers is specifically that he is not as stylistically chameleonic as, say, John Williams (who can do a convincing Zimmer impression, though I have not yet observed the reverse). Zimmer cannot help but speak in his own, immensely distinctive voice. Buh- ler and Neumeyer are correct in arguing that his action cues can sound inter- changeable from film to film, but the approach of this essay will be to pick out those distinguishing components of Zimmer’s music that make it so applicable to larger-than-life films. We must intentionally distance ourselves from the 34 Frank Lehman sheer fact of his musical ubiquity in order to recognize exactly what in Zim- mer’s style is not generic—or, perhaps, not generic in relation to other, previ- ously dominant scoring paradigms.
two excerpts:
this is really good. i guess to sum it up: it's complicated. franklehman.com/wp-content/u...
Sign on MTA bus that says Please no spitting littering smoking or radio playing
When’s the last time somebody played a “radio” on the bus?
Vacate sign for the house that got hit by a bus
Remember the landmarked PLG house that was hit by a bus? still not fixed. But neighborhood Facebook gossip is the homeowners got a payout but did not fix the house. 😳
I guess i could have said archaic...we are creatures who do old irrational things that are not necessarily for basic survival but needed to keep our overlarge brains active.
The good news for performing musicians is we already fought this battle when player pianos emerged. We won. In general, nobody wants to hear a robot perform live even though we know it has technical advantages. But also, the act of performing music is obsolete and that’s ok, we love it anyway.
i phrased my skeet poorly...i was thinking, there were always lots of people doing this, through the 60s-70s-80s-90s.
did that ever go away? seems constant since the early years.
fairly large number of these illegally installed in NYC outer borough rowhouses...allows the upstairs unit to access the yard. Not sure why they are illegal...I don't think you can even install them if they are non-wood.
Do the outdoor wood back stairs count (illegal in NYC)?
These people seem nice enough but in this short article they manage to say 1. There's too many people in Oakland 2. as proof, the drive to SF takes too long and 3. Investors are buying up all the houses and turning them into rentals. www.nytimes.com/interactive/...
Did a post about a bunch of obscure and wonderful trombone LPs. jacobgarchik.substack.com/p/obscure-am...