"Write what you feel - it ain't magic."

A new issue of #Vinyl Cuts is out now >> [www.vinylcuts.nyc]

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bye bye johnny
A new issue of #Vinyl Cuts is out now >> [www.vinylcuts.nyc][/center][/b]

The last couple of "issues" don't open for me - what am I doing wrong?

Was there a very brief mention of Bruce Springsteen in a scene? I can't even remember what scene it was in, and it happened so fast. But while watching I recall thinking "where is he? if I see who they mean I will know if it is supposed to be Springsteen", but then it was over.
And I dont want to watch it again.

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with sssoul

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bye bye johnny
A new issue of #Vinyl Cuts is out now >> [www.vinylcuts.nyc][/center][/b]

The last couple of "issues" don't open for me - what am I doing wrong?

Well, I must be doing the same thing, sssoul. I can't get in there anymore either, no matter how many times I click on the door.

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Palace Revolution 2000
Was there a very brief mention of Bruce Springsteen in a scene? I can't even remember what scene it was in ...

I think someone said "there's Bruce" or "hi Bruce" in the club scene.
Almost as good as "is that Micky Dolenz"! Is it fun for Bruce to be mentioned?
It's a mystery.

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latebloomer
Well, I must be doing the same thing, sssoul. I can't get in there anymore either, no matter how many times I click on the door.

I'm sorry you're afflicted too, LB, and at the same time I'm glad it's not just me -
how's that for cognitive dissonance! Damn this series anyway



Edited 1 time(s). Last edit at 2016-04-07 09:30 by with sssoul.

episode #8 was pretty good;the John Lennon' scene with his girlfriend May Pang must have been a reference to the start his "18 months 'lost week end'".
Rock and roll,
Mops

interesting- "creative differences" have caused Terence Winter to leave Vinyl

link

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rollmops
episode #8 was pretty good;the John Lennon' scene with his girlfriend May Pang must have been a reference to the start his "18 months 'lost week end'".
Rock and roll, Mops

That was a good scene and John Lennon was done very well by whatever actor. It was a charming scene. I like Vinyl and I must admit mostly due to the guy conflicts and fighting and fisticuffs (means punches thrown, for Europeans) Lots of black humor and a good representation of how gritty NYC was back then.
I predicted months ago that due to Mad Men with its laudable obsession with background details such as guys suits and women's suits and clothing, home furnishings, what restaurant interiors looked like ...etc. I predicted that Vinly would have to do the same and its very high production cost per episode vindicates me.

FUN PART..... I was trapped in a small Connecticut town summer 1983 so I walked into a store that had newspapers and magazines. I read a magazine standing up, a 10 page treatment all about May Pang and John Lennon with lots directly from May Pang. It was very literate and well done. This was how the rock n roll press used to be when rock n roll was a very strong cultural force.



Edited 2 time(s). Last edit at 2016-04-09 01:39 by triceratops.

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alieb
interesting- "creative differences" have caused Terence Winter to leave Vinyl

link

Thanks, alieb! My heart soared when I read "If it happens, the series will progress in time" -
but it promptly sank again, because moving from 1973 all the way "into 1974" is not really what I've been hoping.
Wouldn't it be cooler to just flush this whole gang and have Season 2 get into a whole new decade?
For example the 50s, which the musical director seems to like better than anything else :E

This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this they felt they couldn't cancel it, but this is disastrous for them within the business.

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TeddyB1018
This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this
they felt they couldn't cancel it, but this is disastrous for them within the business.

Any chance it'll be good for the show?
(That's not meant to sound smartass - I have no idea what the man's role was.)



Edited 1 time(s). Last edit at 2016-04-09 23:51 by with sssoul.

Will Mick have much input in Series 2 ?

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with sssoul

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TeddyB1018
This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this
they felt they couldn't cancel it, but this is disastrous for them within the business.

Any chance it'll be good for the show?
(That's not meant to sound smartass - I have no idea what the man's role was.)

Terry Winter was in charge of the show. He was the head writer, and rewrote all of the material. That person is also in charge of the casting, final editing, basically the Boss. He was the number two writer on the Sopranos, was the showrunner of Boardwalk Empire, where he first worked to develop s show with Scorsese, and wrote the script to the Wolf of Wall Street.

It will probably make for a very different show. Who knows how to compare? It will likely be aimed more at a younger audience, as HBO seems to be throwing over its old drama branding. Maybe they will change the idea of moving forward to 1974 and jump ahead to, say a Studio 54 era. The new writers are very, very different than Terry Winter and his staff. They have written action oriented stuff, like Godzilla and a recent Bourne. They don't sound like the sort of figures Scorsese would choose. They sound like corporate picks, which is a complete break in form for HBO.

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TeddyB1018

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with sssoul

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TeddyB1018
This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this
they felt they couldn't cancel it, but this is disastrous for them within the business.

Any chance it'll be good for the show?
(That's not meant to sound smartass - I have no idea what the man's role was.)

Terry Winter was in charge of the show. He was the head writer, and rewrote all of the material. That person is also in charge of the casting, final editing, basically the Boss. He was the number two writer on the Sopranos, was the showrunner of Boardwalk Empire, where he first worked to develop s show with Scorsese, and wrote the script to the Wolf of Wall Street.

It will probably make for a very different show. Who knows how to compare? It will likely be aimed more at a younger audience, as HBO seems to be throwing over its old drama branding. Maybe they will change the idea of moving forward to 1974 and jump ahead to, say a Studio 54 era. The new writers are very, very different than Terry Winter and his staff. They have written action oriented stuff, like Godzilla and a recent Bourne. They don't sound like the sort of figures Scorsese would choose. They sound like corporate picks, which is a complete break in form for HBO.

I did think that when i saw the things listed on the article that they've done, but I looked at their wiki pages and both have worked on diverse projects (I'm not a fan of action but both have done things that look interesting to me). No doubt it will be very different though. Guess we'll just have to see whether or not this is a good thing. Can only assume the decision had something to do with the ratings though.

Ratings has never been something HBO has acted this directly on before, or has caused them to make a creative change. They renewed the show directly after its weak opening performance.

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TeddyB1018

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with sssoul

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TeddyB1018
This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this
they felt they couldn't cancel it, but this is disastrous for them within the business.

Any chance it'll be good for the show?
(That's not meant to sound smartass - I have no idea what the man's role was.)

Terry Winter was in charge of the show. He was the head writer, and rewrote all of the material. That person is also in charge of the casting, final editing, basically the Boss. He was the number two writer on the Sopranos, was the showrunner of Boardwalk Empire, where he first worked to develop s show with Scorsese, and wrote the script to the Wolf of Wall Street.

It will probably make for a very different show. Who knows how to compare? It will likely be aimed more at a younger audience, as HBO seems to be throwing over its old drama branding. Maybe they will change the idea of moving forward to 1974 and jump ahead to, say a Studio 54 era. The new writers are very, very different than Terry Winter and his staff. They have written action oriented stuff, like Godzilla and a recent Bourne. They don't sound like the sort of figures Scorsese would choose. They sound like corporate picks, which is a complete break in form for HBO.

I'm scanning Teddy's post, and at first reading had seen an 'r' in the last line; where it says 'corporate p-icks'., And actually assumed it made perfect sense. What this overhaul of writers reminds me off, is that same desperation with which Jagger pursues the young market with the Stones.

I'm glad they're switching writers. The show was really exciting when it first started, and it's just gotten kind of boring lately. I almost think there are too many characters, and a few too many boring ones. I don't care what's going on in the mail room. That's great - they're smoking a joint - whatever.

They need to do more to develop the main characters, IMHO. It's as if every individual show is its own unique movie or something. That can really work sometimes. But it can be like an ADD experience, too; a scattered attention drift. Vinyl is supposed to be a series. Where is the plot? What happened last week ought to continue into next week's show - that kind of thing.

I would like to see a whole episode about the curly haired blonde girl. Maybe she could even have her own show. Really, Vinyl is one of my favorite new tv programs. It would be cool if they could do four or more seasons - just keep the whole thing moving, bring it into the 80's maybe. They could always involve the mob, with gangsters and gunfire, like Boardwalk Empire. I just don't want to feel like I'm falling asleep when I'm watching this week's show.

And I'm tired of watching bog-standard Scorsese characters fvkcing up everything in sight as usual.

Teddy dear, huge thanks for helping me understand this better - please feel appreciated!
Can you also elaborate on what you mean by "this is disastrous for them within the business"?
Who is "them" in that sentence, and how will the disastrousness manifest itself?

And ... since this move is not typical of HBO and the replacements are not "Scorsese types",
would it be plausible that Mick was the agitator? Would he have that much weight to throw around, bless his skinny self?

I hope the new writers keep the music a big part of the story. The scenes that have rock and roll has "the protagonist" like when the Nasty bits's manager teaches them the essence of a rock and roll song or the Elvis' scene are very good and exciting. Good music and what it does to people who feel it is essential to the plot of the show.
Rock and roll,
Mops

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TeddyB1018
This is a remarkable turn of events. HBO does not fire show runners. I guess they've got so much money into this they felt they couldn't cancel it, but this is disastrous for them within the business.

i would like to hear more about how this separating of ways with the show runner will be disastrous - who does them refer to?

i'm not sure how people whose experience is the action genre can add to the soul of the series...

i was hoping that the series would go forward rather as "Fargo" has as a series...following a new storyline for each season with complementary thematic ideas so different musical eras would be highlighted.

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CloudCat
i was hoping that the series would go forward rather as "Fargo" has as a series...
following a new storyline for each season with complementary thematic ideas
so different musical eras would be highlighted.

I don't know anything about the Fargo series, but new characters and a new storyline
with music as the main character would be way cool indeed

Who did he just call? He wants to take what deal?

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with sssoul

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CloudCat
i was hoping that the series would go forward rather as "Fargo" has as a series...
following a new storyline for each season with complementary thematic ideas
so different musical eras would be highlighted.

I don't know anything about the Fargo series, but new characters and a new storyline
with music as the main character would be way cool indeed

They killed off the main characters in True Detective Season 2, and I was glad they did.

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with sssoul
And I'm tired of watching bog-standard Scorsese characters fvkcing up everything in sight as usual.

Teddy dear, huge thanks for helping me understand this better - please feel appreciated!
Can you also elaborate on what you mean by "this is disastrous for them within the business"?
Who is "them" in that sentence, and how will the disastrousness manifest itself?

And ... since this move is not typical of HBO and the replacements are not "Scorsese types",
would it be plausible that Mick was the agitator? Would he have that much weight to throw around, bless his skinny self?

No, I don't think it had anything to do with Mick. The "them" I referred to is HBO. They have for many years been the place where powerful and talented show runners could do their thing without the same creative pressures as they get from the networks. They were basically left alone, and ratings were not such a direct pressure, as HBO works on a subscription basis. That era is pretty much past, and this puts a nail in it. HBO still has overall deals with David Simon, David Chase, David Milch (lots of David's), Levinson and Wahlberg and Scorsese, but the cutting loose of Terry Winter is a loud announcement to everyone that HBO is no longer the safe haven for them (already pretty much known) and that they are going to now be aiming at the audience they have with Game of Thrones.

Maybe they realize it's true, the show did not turn out as planned/ very high expectations/ obvious poured in a ton of money/ not that good, sorry.
And I was a big fan of Soprano's, Boardwalk Empire.
To me, it was just a shock and awe of the 70's.
Granted, I didn't watch past the 1st episode, but it was clear to me.
I agree with Goodman, 'Billions' in the same time slot/Showtime won me over, intelligent and a more interesting slice of life, IMO.



Edited 1 time(s). Last edit at 2016-04-11 06:38 by 35love.

Ironically, the show runners of Billions, Koppelman and Levien, were mooted to work on Vinyl under Terry Winter until Billions was green lit. Brian Koppelman's dad, Charlie, was a major figure in the music business.

I never said that Vinyl was or wasn't creatively successfully or that HBO was or wasn't right on that, I was only discussing that it was a major break in their past history that they are keeping the show going without their show runner.

What if there were a big a fire in a night club and the only survivors were Mick Jagger's kid, Richie's secretary, Richie's wife, the new boss woman, and the curley-haired blonde girl? Then maybe they could all get a place together and start a different label.

The only reason I write it like that is because I don't know any of the characters' names on the show other than Richie - because there's been next to no character development outside of him. It's all about Richie.

The rest is a big blur of polyester. And keep the black guy who had his voice taken from him, just so we can watch him kill some mobster. Oh and Ray Ramano, he stands out. It's as if they tried to do more character development but they didn't have time because it was always Richie, Richie, Richie.

I also enjoyed the real-life rock start tie-ins. But if anything there wasn't enough of all that. The Alice Cooper thing was probably the most entertaining. The rest of the show, I'm just not sure what's going on...

So it's gotta be time to get rid of Richie. Either send him to the big house or to sleep with the fishes. I think I speak for the viewing public when I say we're all tired of his shenanigans.



Edited 3 time(s). Last edit at 2016-04-11 08:01 by Socrates1.

More Juno, please:





Edited 1 time(s). Last edit at 2016-04-11 07:51 by Socrates1.

Holy shit. This episode was astonishing. Few words. Just: Holy. Shit.

I am not at all with you on your assessment or wishes for the future, Socrates. The only episode I found "boring" was one of the more histrionic, action-packed obvious ones--but I've come to appreciate that for what it was, and what it was intended to be and do.

The acting is staggeringly good. Almost across the board. This show deserves so many Emmys--in so many categories.

There are not too many characters -- there could be twice as many and there still wouldn't be too many characters. You just have keep up.

The story line is excellent. It's complex and finely rendered -- it is original. It's not ham-handed, formulaic, or linear.

You have to pay attention, and at the same time keep your mind loose.

It's a feast for the eyes, ears, and mind. And with Richie's admission to his wife tonight--the heart.

Ray Romano is outdoing himself. My heart is still beating hard from that. His piecing it together---it took my breath away, and made me cry--witnessing the dozens of nascent emotions almost hatching, but then racing by, one after the other as he confronts Richie. Similarly with Devon.

As I've said before, this show is about moments. How things can turn in a heartbeat or eye-blink---not just acts or actions, but how people feel about things, how we perceive them, how fluid it really is. And especially in a time like the early 1970s, when culturally, socially, and musically things were just wide open.

In a moment...that one moment...what can happen, catalyze, change, take off.

Incidentally, the action, conversations, subtleties, dynamics in the mail room are focking fascinating and spot-on---I've never seen it captured better. Possibly the best portrayal of the experience of being a minority majority. To be white, Ivy educated, upper middle class amongst working class black people (in that time period). Maybe if you weren't alive then. Or maybe if you weren't from NY. Or aren't American. Or have never been a person of cultural privilege out of your element it wouldn't make sense, or be boring.

For me, it was watching a set of realities I've never seen articulated. The white character is very lucky he had access to weed that good and handled that situation as he did, and got a tiny bit of cred through his dope and appreciation of and honest curiosity for the mail room guys' music. To have entree into the pre-disco/pre-hiphop basement dance party scene was so fortunate. Again...it's all about moments...tipping points...the exact moment when something goes from being "nothing," or not resonating, to...sparking, catching flame!

Those who can see or hear something before it "happens"--the "early adopters"--the ones who can perceive the potential of something first. The record guy heard it and knew...the mail room guy agreed it was something...the DJ listened and got it. The people in that room...not at first. That's the way it happens, usually. And then the tinder conflagrates and spreads!

And FFS---where did that horrible brutal allusion come from---of the dude in prison who had his teeth knocked out so he could be focked in the mouth without scraping? It immediately struck me as true: something that has happened. Something that never would have occurred to me, and now I know at leats once that has happened. I know it. I didn't need to know such a thing. But it's true, and vivid, and horribly compelling. Richie probably would not have that fate in front of him in prison, but even reminding him of exactly how savage prison would be...he's a swaggering big swinging dick among lawful people, but he knows...in prison?

The people involved with this show are incredibly lucky, and I'm sure they know it--this is unusual TV, even for HBO.

btw...sorry I dropped away from this discussion. Some stuff has popped up, living in a new city, new job, new climate, on and on, and I haven't checked iorr in a couple of weeks.

I hope Mick Jagger had a bunch to do with this show. If so, he can consider it a creative masterpiece, even he was simply part of it in a collaborative sense. I would like to know more about his ongoing role---other than the conception of it, as he riffed on it with the main writer (which was interesting to read about---I can picture how that might have gone down). This is by far the best, most intelligent, unusual, ground-breaking, FUN, aesthetically beautiful work, in my opinion, that Mick Jagger has been involved in for many years.

Oh...and the music. What treats, "Jewel-Eyed Judy," a song I totally love, the scene Devon is photographing that guy (who is he supposed to be?( (and thank you--whoever is responsible for it--for equal opportunity nudity--I once got banned from iorr for saying this, but I love when full nudity is allowed to be normalized!), "Blues Run The Game" rare Simon & Garfunkel, "Rock 'N' Roll Queen" (Mott the Hoople?), and "Stay with Me Baby" (Terry Reid?).


- swiss



Edited 3 time(s). Last edit at 2016-04-11 12:32 by swiss.

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Palace Revolution 2000
Was there a very brief mention of Bruce Springsteen in a scene? I can't even remember what scene it was in, and it happened so fast. But while watching I recall thinking "where is he? if I see who they mean I will know if it is supposed to be Springsteen", but then it was over.
And I dont want to watch it again.

Yep -- scene last week at Max's KC when Bob Marley was playing.