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What amused me most of all once I got the tracks here was how addictive the music is - I literally could not stop listening to it, which, given the film's subject matter, makes sense, additive-wise.
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I remember this well. When everybody was saying how knocked out they were by Al Pacino's "debut" in THE GODFATHER I was talking about about the true debut in this early Jerry Schatzberg directed (SCARECROW,SEDUCTION OF JOE TYNAN) intense drug drama. THE PANIC IN NEEDLE PARK marked Al Pacino's first starring feature film role, although it was neither his nor Kitty Winn's feature film debut, as the studio notes and some reviews erroneously reported. Previously Pacino had appeared in a small part in 1969's ME, NATALIE and had won Obie and Tony awards for Broadway theater performances. Don't forget actor Richard Bright' suppoting role in TPINP. He went on to play Al Neri in all three Godfather films.
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I played a few of the samples. There is some damn beautiful music in there. Looking forward to getting this one. Kudos to Gergely Hubai and Kritzerland for unearthing this one.
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Wow! Just listened to the samples. Very impressed. The score reminds me of early Michel Colombier and Michel Magne, in particular, Colossus: The Forbin Project as well as Le Monde Experimental de Michel Magne. Lovely release Bruce. Dare I say it's FAN-FREAKING-TASTIC!
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I'm really glad folks are listening to the samples. In honor of this release I've been happily discovering some of Mr. Rorem's other work - and I'm just bowled over - how I somehow missed his music, especially as Bay Cities was known and loved for its American classical music releases, is anyone's guess. I've got four more CDs coming this week and I can't wait to hear them. Meanwhile I've heard his third symphony, which is wonderful, his orchestral piece Eagles, and Air, in which he repurposed one cue from this score.
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It's funny - I thought one of the benefits of the Indiegogo campaign would be that people might take chances and go outside their little comfort zones, what with extra free CDs and free shipping, but that has not proven to be the case. The number of opt-outs on every single release in the past year has been astonishing. At the same time, a few people have opted in for everything, so that's been fun. I know if this were me and I'd contributed I would be wanting everything at these low prices and they ARE low especially if one is overseas they're practically free - and still people will not take chances. To make it plainer - Kritzerland took a chance on this score. Why? Because I listened to it - I took the time to listen to it, and fell in love with it and because of that look at this whole new Ned Rorem world that's opened up to me - and that, my friends, is a good thing.
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I dont think you can generalize about indiegogo givers unless you run a poll. I think we all know it's not realistic to expect everyone else will share one's taste, or have the same reasons for liking the same thing. Who's generalizing? Rather than a knee-jerk response, read what I actually wrote. There have been huge opt-out numbers for EVERY SINGLE RELEASE in the past year. And I have to say, and this doesn't require a poll because, you know, I have the lists, it's usually the same folks. But you seemed to have missed the point of why I wrote what I wrote, which is, to take chances sometimes leads to very pleasant discoveries. I would not have the musical tastes I have, which are wide and varied, had I not, as a youngster, learned to take chances on EVERYTHING. That shaped me and I'm the same today as I was then - bring it on. I don't really care much for any new film music these days, but I listen and/or when someone recommends I hear something I damn well hear it and if I like it I go seek out other work by that composer. It happened in a major way with Rombi, who I discovered thanks to this message board. If I'd opted out because I didn't know who he was or what the films were, I would have missed out on one of my favorite composers working today.
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As one of those who never opts out, I'm a little surprised myself that so many subscribers have said no to things. My contribution was essentially a vote for Bruce's taste in soundtracks, even if they are not all my favorites (I have about 40 of the albums released before the campaign, but that's a lot less than half of what's been released). I decided early on to take whatever comes my way, and I haven't been disappointed yet (though I haven't cracked everything open yet either). But it's like the Varese blind-buy subscription series - you have to want to just get whatever comes your way. I can understand people shying away from what doesn't strike their fancy. I wonder if this is quite a headache for Bruce's team.
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As one of those who never opts out, I'm a little surprised myself that so many subscribers have said no to things. My contribution was essentially a vote for Bruce's taste in soundtracks, even if they are not all my favorites (I have about 40 of the albums released before the campaign, but that's a lot less than half of what's been released). I decided early on to take whatever comes my way, and I haven't been disappointed yet (though I haven't cracked everything open yet either). But it's like the Varese blind-buy subscription series - you have to want to just get whatever comes your way. I can understand people shying away from what doesn't strike their fancy. I wonder if this is quite a headache for Bruce's team. I don't know if it's a headache because we're so appreciative of the contributions, but if we were to do this again I'm not sure the opt-outs would happen - the main reason I allowed it was because we had a lot of show music contributors who I knew would not want the soundtracks and I knew the soundtrack folks would not want the cast albums. Had I known the extent of the opt-outs I probably would not have done it - I just wanted to make it as easy as could be for folks, but given the amount of money that any contributor at any level saved, especially the free postage, that should have been enough - that's why Varese did not allow opt-outs - I'm sure they read some of my posts about them and thought not worth the time or trouble. I still believe we would have gotten just as many contributors, but that's in hindsight. The fact is, had we not done the opt-outs people could have easily flipped what they didn't want and because we've had several sell-outs they could have actually made money. A lot of folks are getting CDs for half price AND no postage so if they had to flip something I think they'd absolutely get their money back.
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As one of those who never opts out, I'm a little surprised myself that so many subscribers have said no to things. My contribution was essentially a vote for Bruce's taste in soundtracks, even if they are not all my favorites (I have about 40 of the albums released before the campaign, but that's a lot less than half of what's been released). I decided early on to take whatever comes my way, and I haven't been disappointed yet (though I haven't cracked everything open yet either). But it's like the Varese blind-buy subscription series - you have to want to just get whatever comes your way. I can understand people shying away from what doesn't strike their fancy. I wonder if this is quite a headache for Bruce's team. I don't know if it's a headache because we're so appreciative of the contributions, but if we were to do this again I'm not sure the opt-outs would happen - the main reason I allowed it was because we had a lot of show music contributors who I knew would not want the soundtracks and I knew the soundtrack folks would not want the cast albums. Had I known the extent of the opt-outs I probably would not have done it - I just wanted to make it as easy as could be for folks, but given the amount of money that any contributor at any level saved, especially the free postage, that should have been enough - that's why Varese did not allow opt-outs - I'm sure they read some of my posts about them and thought not worth the time or trouble. I still believe we would have gotten just as many contributors, but that's in hindsight. The fact is, had we not done the opt-outs people could have easily flipped what they didn't want and because we've had several sell-outs they could have actually made money. A lot of folks are getting CDs for half price AND no postage so if they had to flip something I think they'd absolutely get their money back. I think the more opt outs you have, the financially better off you are...so it seems to be a good thing. That's different than being frustrated that people aren't taking a chance on something, but other than feeling a little offended that people aren't taking you up on your recommendations it should't be harming you. You could opt out with Varese, but it was manual. You opt in when you saw a title you wanted, then opted back out. Repeat for each title you wanted.
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Bruce, you've said many times that you're surprised about the opt-outs, and I've suggested you run a simple poll to find out what people want - it might not change your mind about releases, but it would be interesting to find out. I only collect the soundtracks I enjoy rather than what the so-called experts say is "great music." It's off-putting to be judged by what one does or doesnt collect, and unfortunately this does (or has) come across in some of your posts. No one is judging anyone - people are having a conversation that you seem to be taking personally, which you do a lot. I know what people want - some want Victor Young, some want new composers, some want Paul Glass, some want only Golden Age, some hate Golden Age, and on it goes. So, if you're suggesting I play that game, I haven't played it since Kritzerland began eleven years ago and I'm not about to begin now because that is a sure way to go out of business. If I listened to certain people I'd only release Victor Young and I think we know how that goes. I release what I like, and if people come along for the ride, great. If not, it's my problem but then again I'm the owner of the label. A lot of people have come to trust my musical taste and they do take chances and I don't think they're often disappointed and sometimes they then get interested in more work by whoever those composers are. Of course not everyone will like every release. I don't expect any soundtrack person to give a crap about our theater releases, just as I don't expect any musical theater person to give a crap about our soundtrack releases, and yet, some love both, so there's that. I don't have a clew as to what you mean by "so called experts". But the good news is that the opt-outs won't be a thing in a year because the majority of our contributors will be done with their perks by then. And it would probably surprise you how many people have written me asking me to do another campaign because they've been so delighted with the way this has worked. And we seem to have done this exact same dance before.
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As one of those who never opts out, I'm a little surprised myself that so many subscribers have said no to things. My contribution was essentially a vote for Bruce's taste in soundtracks, even if they are not all my favorites (I have about 40 of the albums released before the campaign, but that's a lot less than half of what's been released). I decided early on to take whatever comes my way, and I haven't been disappointed yet (though I haven't cracked everything open yet either). But it's like the Varese blind-buy subscription series - you have to want to just get whatever comes your way. I can understand people shying away from what doesn't strike their fancy. I wonder if this is quite a headache for Bruce's team. I don't know if it's a headache because we're so appreciative of the contributions, but if we were to do this again I'm not sure the opt-outs would happen - the main reason I allowed it was because we had a lot of show music contributors who I knew would not want the soundtracks and I knew the soundtrack folks would not want the cast albums. Had I known the extent of the opt-outs I probably would not have done it - I just wanted to make it as easy as could be for folks, but given the amount of money that any contributor at any level saved, especially the free postage, that should have been enough - that's why Varese did not allow opt-outs - I'm sure they read some of my posts about them and thought not worth the time or trouble. I still believe we would have gotten just as many contributors, but that's in hindsight. The fact is, had we not done the opt-outs people could have easily flipped what they didn't want and because we've had several sell-outs they could have actually made money. A lot of folks are getting CDs for half price AND no postage so if they had to flip something I think they'd absolutely get their money back. I think the more opt outs you have, the financially better off you are...so it seems to be a good thing. That's different than being frustrated that people aren't taking a chance on something, but other than feeling a little offended that people aren't taking you up on your recommendations it should't be harming you. You could opt out with Varese, but it was manual. You opt in when you saw a title you wanted, then opted back out. Repeat for each title you wanted. Of course it doesn't harm us in the least - it's just a lot of list keeping. If that's the way the Varese worked I'm really glad I didn't do it
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Posted: |
Jun 28, 2016 - 3:55 PM
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By: |
Last Child
(Member)
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Bruce, you've said many times that you're surprised about the opt-outs, and I've suggested you run a simple poll to find out what people want - it might not change your mind about releases, but it would be interesting to find out. I only collect the soundtracks I enjoy rather than what the so-called experts say is "great music." It's off-putting to be judged by what one does or doesnt collect, and unfortunately this does (or has) come across in some of your posts. No one is judging anyone - people are having a conversation that you seem to be taking personally, which you do a lot. I know what people want - some want Victor Young, some want new composers, some want Paul Glass, some want only Golden Age, some hate Golden Age, and on it goes. As I said, it comes across that way. Being told we're losing out on some great music seems chastising. Or suggesting we go out of our comfort zone implies we're closed minded. I would imagine every donor, and others, plays the samples regardless of the composer or film, and decides on their taste. And I specifically said a poll wouldnt have to change your mind, but inform you - and us, if you shared that info. Frankly I'm surprised people are reacting so positively to this but not to your earlier Paul Glass cds, but maybe I see more music similarity than exists. Regarding "half-priced CDs," you're referring to international customers, right?
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