We have more independent music retail shops. Not because they do not see the immediate gain of having vinyl in their marketing but because the overarching direction of physical retail is being pressured downward.
But the core of the business here and around the world will remain. Great indie shops selling the depth and breadth of the format, new releases and catalog and reissues and found sounds and previously unheard and unreleased gems from the collective vaults across the territories.
Online sites, both generalist, and specialist as well as their physical storefront divisions. These three segments will become the steady and load bearing beams for the format for the extended foreseeable future.
A grand statement, I know, but an accurate one. As we wrap up here in the U. Indies and Non-Trad make up Non-Trad is a rather large bucket that contains mail order and venue sales, online sales and Non-Trad physical sales.
While the Non-Trad segment has certainly shifted some of the business from the Indie sector, what it has really done well is moving vinyl buyers out of the more general physical storefront and into an online environment. Yes, vinyl fans are going to go wherever they need to go to find what they are desiring and as long as we continue to be creative and smart we will see a strong and growing format for years to come.
Well, is in the books and the market was up 8. I know, a little short of my original estimates. However, there were two items in that make me feel even better about the future: One, Q4 performed better than any Q4 from the last decade with the exception of the boom years of With the quarter being up Two, Record Store Day was the biggest event in its history and achieved sales and awareness that solidified the Independent segment as the bastion and destination it has always been for the vinyl fan.
Beyond today, who knows? Major labels might have moved to CDs then digital files and are now coming back around to vinyl , but independent labels never stopped pressing records and selling them to the consumers who cared. A new generation of record buyers has emerged, however, music fans who grew up in the digital age but who want more than a Spotify playlist or mp3 file. More music is more instantly accessible than ever before via the internet, and consumption for many people seems to have become an exercise in instant gratification—skipping through to the next big hook or slick verse.
Buying a record provides a counterpoint to this. It requires an investment of time and money, but rather than a digital file that can be replicated infinitely and immediately you get a physical object, a piece of art. I would never say there is a better or worse way to listen to music — to each their own — but there is a reason that vinyl has endured, generation to generation, and it goes far beyond economics. When I started writing my book, Why Vinyl Matters two years ago, I was met with confusion by the general public read: my family about this topic.
He makes a series of overtures toward various men, including Barry Jon Favreau , the persistently hot-headed husband of Zooey's friend Denise Jaime Pressly who doesn't really like Peter all that much to begin with, a problem that only escalates when Peter inadvertently projectile-vomits on Barry after winning a beer -drinking contest.
Feeling rejected, Peter is about to give up, when during an open house at Lou Ferrigno 's mansion which Peter is trying to sell, he meets Sydney Fife Jason Segel , an investor who is attending the show simply to pick up divorced women and take advantage of the free food.
The two quickly become friends, especially bonding over their mutual adoration of the progressive rock band Rush. Peter introduces Sydney to Zooey at their engagement party, but the meeting takes an unfortunate turn when a nervous Sydney makes a very awkward toast.
The next night, Peter agrees to attend a Rush concert with Sydney, on the condition that he can bring Zooey. During the concert, Zooey is left feeling ignored by Peter and Sydney. After some thought, Peter decides to lend Sydney the money, and later grants him the honor of being best man at his wedding. Zooey, meanwhile, has become suspicious of Sydney.
Peter tells Zooey that he lent Sydney money and asks her if she knows why they are getting married, since he had no answer to Sydney's question. He wasn't aware that it was a question that was supposed to stay between him and Sydney.
Hurt and angry, Zooey leaves. Still upset over his fight with Zooey, Peter confronts Sydney and decides to end their friendship. Peter then patches things up with Zooey, explaining to her that while he is nervous, he is ready to get married. While Zooey and Peter prepare for the wedding, Sydney finds himself alone and desperate to hang with someone.
At work, Peter discovers that Sydney's billboard advertising campaign was successful, as he won back the right to the lucrative Ferrigno listing and many others left messages wanting him to sell their houses. Feeling encouraged, Peter finally stands up to his insufferable colleague, Tevin Downey Rob Huebel , who had been badgering Peter for half the selling rights to the Ferrigno property both to help him and to get in on the commission.
When Tevin makes one final attempt to get a piece of it, Peter slaps him across his face and tells him to stay away from it. Peter feels bad about fighting with Sydney but does not re-invite him to the wedding. Instead, he assembles an array of random groomsmen that includes Robbie, father Oswald J.
Simmons , and Ferrigno. Before the wedding, Zooey sees Peter looking forlorn, clearly missing his friend Sydney. Johnson was a musician and songwriter from Terry, Mississippi, who was best known for his eerie falsetto voice and sophisticated guitar playing.
The buyer, John Tefteller, an Oregon-based record collector, bought the record because it was in much better condition than the one he already owned — stating it was worth every penny now that the master tapes have gone. The record was signed by John Lennon himself, just hours before his death on December 8th, Grammy Award-winning singer, songwriter, Jack White, bought the test pressing via an online auction in December Archived from the original on September 8, Retrieved September 8, November 8, January 17, Les classement single.
Dutch Top Top 40 Singles. Swiss Singles Chart. Retrieved May 20, Retrieved December 26, GfK Entertainment Charts. Music Week. Australian Music Report December 28, — via Imgur. December 26, Retrieved June 7, Archived from the original on February 13, Retrieved December 5, Archived from the original on October 7, Retrieved August 4, The Wall Street Journal.
Archived from the original on October 18, Retrieved October 27, TV Club. Archived from the original on October 3, Retrieved October 7, Archived from the original on December 5, Although the black and white setting populated by Bush and her accompanying musicians is clearly not a realistic depiction of the New York City street on which Susie Trevor no longer has a place to live, in mood it is not far from it; and it reinforces the feeling of isolation and desolation the song, both lyric and music, evokes.
Bush wears a black leather coat indicating she is outside in cold weather, a figure walks by her in the background in the video, one of the musicians, Larry Adler , and she paces or stands forlorn as she sings. It is not difficult to believe that Bush's choreographed movements are reminiscent of Adele Astaire's, and as the lyric suggests, that she could use someone "big and strong" who can "build a little home just meant for two.
They tried repeatedly to get "The Man I Love" into subsequent shows, mostly their own. As Ira recounted, in it was tried in the Gershwins' first version of Strike Up the Band , but the show failed before it ever got to Broadway. A note in the script of their show Oh, Kay! Wodehouse See Jablonski pp. Ira and George, as well as producer of Strike Up the Band , Edgar Selwyn, who was very fond of "The Man I Love," still hoped to revive Strike Up the Band , but in the face of the request from "the great" Ziegfeld and the fact of Marilyn Miller being the star although as it turned out, she thought the song was too melancholy , consented to letting it be used in Rosalie.
The show was a big hit, but again "The Man I Love" never made it to the opening. Ira writes that there was a lot of switching things around as they got ready to open, but whatever happened, the song "certainly wasn't in the show opening night" and "I can't recall Miss Miller ever even rehearsing it. So how did it get to be a standard? After "The Man I Love" didn't show up in Rosalie , Max Dreyfus, the Gershwins' music publisher, still believed in the song and offered George and Ira a deal to publish it but at cut rate royalties.
Ira writes, "Dreyfus told us,". If we cut our sheet-music royalty a cent each production sheet music generally paid six cents: three cents each for music and lyric some money could be afforded for exploitation. We cut, he exploited, and the song began to be heard quite a bit and sold fairly well--within six months about one hundred thousand copies, plus several good recordings.
As they say, the rest is history. That history of "The Man I Love," as a song published independently of any show, actually began with George Gershwin's friend Lady Edwina Mountbatten, who having heard George play it at a party, asked for an autographed copy of the sheet music published for the preview in Philadelphia and took it back to London in , where she had her favorite band, The Berkeley Square Orchestra, include it in their repertoire. Along with them playing it at various gigs, Eva Gauthier, the soprano who had sung a group of Gershwin songs for the first time in a classical concert at Aeolian Hall in New York in , claims to have given the song its premier performance in Derby, England, in Whoever may have played it first, these several performances were enough to have it catch on and before long the song was being played and sung around Britain and in Paris.
Popularity in The States had to wait for Helen Morgan's live night club performances became quite the thing in New York. Somewhat oddly, Morgan never recorded the song; nevertheless, George Gershwin, on his radio show, credited her with making the song popular stating, "The Man I Love" was sung in New York by an artist who has been almost directly responsible for its American success.
It was also in that Bennett Cerf, head of the newly formed Random House, requested that George provide a group of his best songs to be published as George Gershwin's Songbook , a project finally realized in George believed, "'The Man I Love' was worthy of a place in any score I might write" but when it was withdrawn from show after show, he speculated that "it just lacked that thing so far as theater presentation was concerned" See The Gershwin Years , pp.
Its publication in George Gershwin's Songbook in some sense gave it the stamp of legitimacy it lacked as a result of never having been used in a Gershwin show. By the time Ira was writing his Lyrics on Several Occasions in , the song was still going strong after almost thirty years. Always the ironist, Ira concluded his little essay by noting that Strike Up the Band , much revised, was remounted in by its original producer and great fan of "The Man I Love," Edgar Selwyn, but because the song had become so popular on its own, it couldn't possibly be used in the show -- thus precluding "a probable fourth ousting" Lyrics on Several Occasions , pp.
Knoph, ; reprinted as paperback by Da Capo Press, Alec Wilder also recounts this history in abbreviated step by step fashion, pp. Howard Pollack explains that Gershwin kept music notebooks from the very beginning of his career in which he recorded "musical ideas.
Pollack emphasizes that Gershwin "distinguished ideas for songs 'tunes' from those for more extended pieces 'themes' to the point of keeping them in separate notebooks. Pollack, contrary to some to other critics, approved of Ira Gershwin's use of inverted word order in his lyrics as a way of projecting " a distinctive whimsy," noting the device's origins as coming in part from classic British poetry, Yiddish syntax, and American slang"; whereas Philip Furia felt this penchant of Ira's "'marred some of his finest lyrics'" and Ned Rorem did not like its use in "The Man I Love": e.
Gerald Mast. Woodstock, NY: Overlook Press, Merle Armitage, Ed. New York: Da Capo Press, repr. George Gershwin's works are often divided into two categories: his songs and his concert pieces or more broadly his popular compositions and his "serious" ones, the latter category including along with the orchestral compositions like Rhapsody in Blue , Concerto in F , The Cuban Overture , and An American in Paris , etc.
Walter Rimler suggests that the two categories come together in the song "The Man I Love," when he writes that the song is "obviously the handiwork of the man who had composed Rhapsody in Blue p.
You Set My Heart To Music - Johnny Mathis - Portrait Of Johnny (Vinyl, LP), Deep Purple - The Book Of Taliesyn (Vinyl, LP, Album), Suckfest - The Fake Boys - Please Dont Go Home (Vinyl, LP), Mack Come Thru - DJ Leust Feat. DJ Siens - Lesson #1 (Cassette), Dare To Spit - Sword (2) - Metalized (Vinyl, LP, Album), Heavy Vibes - Montana Sextet - Heavy Vibes (Vinyl), North North Nowhere - Achim Bloch - Eleven Dance Movements For The Coming Rising (File, MP3, Album), Prelude To Change For Arthur - A To Austr - A To Austr (Vinyl, LP), Mind Blow - Various - Skateboard Clash! (CD), Lo Quiero Todo - Manolo García - Los Días Intactos (CD, Album), Topol - Jerusalem, Jerusalem / Sallah (Vinyl) See You.Never - Atten Ash - The Hourglass (CD, Album)