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HBO's 'Vinyl' Discussion Thread

I watched the last 2 episodes back to back

Episode 8 was great. Lester dropping that music foundation lesson on them was classic. Richie trying to maneuver around these true gangstas was doomed to fail. The dude Maury was like "Not Yet"

I thought they was going into the discovery of Hip Hop as well when they referenced Herc, but I read the show is set in 1973 which is too early for Hip Hop.

I wonder how the feminist crowd gonna react to episode 9. All the female characters took shots this episode. Jamie was like "I get it, fuck all the band and they stay happy" lol

Based on the club scene in episode 9, I think it's going to be the rise of Disco which the white boy Clark uses to get his job back.
 
Does anyone else think Joe Corso was wearing a wire when he went to Richie's office? I'm not buying that the office was tapped. I think Corso already got himself a deal for flippin on Richie.
 
Maury said a 50s compilation album with a sock hop release party

Andrea is a great character ...she's brutally honest

Zack whooped Richie's ass on that elevator

That disco record cleared the floor like the first time I played Bia Bia in 98 (people rarely respond well to unfamilar sounds)

CeCe pregnant for Hanibal ?

They called Bruce Springsteen a more approachable Bob Dylan ...LOL
 
dawilleyone said:
I watched the last 2 episodes back to back

Episode 8 was great. Lester dropping that music foundation lesson on them was classic. Richie trying to maneuver around these true gangstas was doomed to fail. The dude Maury was like "Not Yet"

I thought they was going into the discovery of Hip Hop as well when they referenced Herc, but I read the show is set in 1973 which is too early for Hip Hop.

I wonder how the feminist crowd gonna react to episode 9. All the female characters took shots this episode. Jamie was like "I get it, fuck all the band and they stay happy" lol

Based on the club scene in episode 9, I think it's going to be the rise of Disco which the white boy Clark uses to get his job back.
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73 is the perfect starting point for hip hop... they are showing the elements, was happy as hell to see Marley doing a set, they might even show hiphop's roots in reggae...
Funk, hard rock metal, punk, disco and jazz fusion are still to come full force in mainstream before 80 ... if you ain't hearing hip hop in the underground club scenes you ain't listening
 
:please: dont let anything bad happen to the Temple..

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What HBO’s Vinyl Shake-up Tells Us About the Network’s Drama Problem

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Since its Valentine’s Day premiere, HBO’s big-budget, 1970s rock-and-roll drama Vinyl has struggled mightily to capture both viewers and buzz. The series, a collaboration between Boardwalk Empire creator Terence Winter and film icon Martin Scorsese, opened with fewer than 1 million same-day viewers and has since seen its Sunday audience drop by more than 25 percent. More distressingly, while early reviews of the show tipped slightly positive, Vinyl has failed to generate the sort of ecstatic critical praise or watercooler buzz on which HBO relies. These problems won’t prevent the show from getting a second season: The network announced a renewal hours after broadcasting the premiere. But late Friday, word got out that Winter — whose association with HBO goes all the way back to The Sopranos — was being replaced as showrunner. Growing pains are hardly unprecedented for HBO dramas, but the decision to sack someone as closely associated with the network as Winter was a shocker — and, perhaps, a sign of just how desperate the network is to ensure Vinylremains in its rotation for years to come.

It’s not that HBO’s future is somehow at stake with Vinyl: The only series on HBO which can rightly be called all-importantis Game of Thrones, andit’s doing just fine. But save for that one very big hit, HBO finds itself in the middle of a years-long creative recession when it comes to dramas. While True Detective was a massive success its first season, it collapsed in its sophomore year, leaving its future in limbo. The Leftovers is a great show, but many critics were slow to warm up to it, and same-day ratings for the show dropped sharply in season two (in part because it lost its freshman year advantage of a True Blood lead-in). HBO has already decided Leftovers will end after its third season, giving it roughly the same lifespan as Aaron Sorkin’s The Newsroom (2012–2014). Sorkin’s media critique had its defenders, but on balance, it received far more darts than laurels, and is symptomatic of the network’s recent drama struggles.

Fact is, HBO hasn’t come up with an undeniable drama hit since GoTbowed in 2011. And while the network has faced creative dry spells in the past, it’s never done so while operating in a competitive landscape where so many rivals (Netflix, Amazon, AMC, FX, Showtime) were churning out prestige programming on a par with the pay-cable pioneer. This new reality helps explains why HBO made such a major bet on Vinyl: The nearly two-hour pilot, directed by Scorsese, carried a price tag upwards of $30 million, industry sources have told Vulture and other media outlets. No network — not even HBO — spends that sort of sum unless it believes it has a potential signature series on its hands. HBO clearly believed it had a possible game-changer with Winter’s show, making it all the more painful when audiences never really showed up, and when even critics who liked the show were relatively restrained in their praise. This disappointment suggests a reason why execs felt it necessary to “make a change in the creative direction of the show,” as the network put it in a statement Friday.

Winter is the kind of trusted producer to whom the network historically would’ve given a wide berth. And on the comedy front, HBO can still afford to be forgiving: It’s had better luck generating buzz with half-hours (Girls, Veep, and Silicon Valley have all been zeitgeist shows) and production costs are much smaller. HBO didn’t replace the creators ofTogetherness, Looking, Doll & Em, or Enlightened in between their respective first and second seasons, even though the viewership for all four series was tiny. But after a string of big-budget drama disappointments, HBO arguably doesn’t have the luxury of a laissez-faire series oversight anymore. It needs the second season of Vinyl to be markedly better than season one, and it needs to convince viewers who opted out of the show early on— or those who never bothered to tune in — that there’s a reason to watch.

HBO declined to make executives available to comment for this story, and a PR rep for Winter did not respond to an interview request, so it’s not yet clear whether the network rejected the writer’s plans for season two or if some other conflict led to his departure. It doesn’t seem a stretch, however, to assume HBO brass felt the need to protect their investment inVinyl outweighed whatever bad PR or hurt feelings might result from the change. Replacing Winter doesn’t guarantee Vinyl will magically fix itself creatively, or that viewership and buzz will suddenly soar when the show returns. But it does offer HBO the chance to reset the narrative surrounding the series, increasingly the odds Vinyl becomes a fixture on the network instead of ending up the TV equivalent of a one-hit wonder.
 
Helico-pterFunk said:
http://www.vulture.com/2016/04/hbo-vinyl-drama-problem.html




the industry
April 12, 2016 2:37 p.m.

What HBO’s Vinyl Shake-up Tells Us About the Network’s Drama Problem


By Josef Adalian Follow @TVMoJoe




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Playa

I am hate watching this like I hate watched The Leftovers Season 1 -

I started out on the first few episodes hoping it would get better and it didnt but I was in so I stuck with in to see how they wrapped up - and it was bleh.

Then Season 2 was airing and I hear Regina King is coming on board and that they were not tied to the book - so I took a chance and was hooked by the 1 ep of the 2nd Season and man I never seen such an astonishing turn around though for most people they had already bailed.

So can Vinyl make such a turn around - Yes - but they have to jettison Richie Finestra and his over the top Coke Head parody bullshit - I knew Coke heads and crack heads growing up - they were self destructive, out of control and in some cases crazy but they were not this clown. So season 2 should change the focus onto a character that we don't even know yet and a great actor to move the story along because I like the idea of seeing the music business when it was at its biggest and most powerful.

we shall see
 
As I said earlier in the thread, the show tries to do to much. It's party Music Industry/ Part Gangsta / Part 70's decadence (drugs) / Part musical / Part Crime/Cop show.

I really don't care much about how Richie and his Wife are having problems. At the end of the day, she still has a Nanny and he still has a chauffeur.

The only part that draws me in is the whole development of the artist and little details about the recording biz.
 
dawilleyone said:
As I said earlier in the thread, the show tries to do to much. It's party Music Industry/ Part Gangsta / Part 70's decadence (drugs) / Part musical / Part Crime/Cop show.

I really don't care much about how Richie and his Wife are having problems. At the end of the day, she still has a Nanny and he still has a chauffeur.

The only part that draws me in is the whole development of the artist and little details about the recording biz.
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This right here is the main problem.

Having Ritchie in the middle of marital troubles, committing a murder, losing his company, and a relapse all at once is waaaaay too much.

If you eliminate the murder, make the marital problems far less prevalent, and then zero in in the other two storylines with the mafia element added in you would have had a far better season.

And that isn't even taking into account all the side character stories.

For season two they need to trim the fat and concentrate on the story they want to tell.

That being said I still like the show.
 
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the episode went out on a whimper - and the CBGB bullshit at the end. :thumbsdown:

I must have missed when the Nasyt Bits sang "Fuck the Police" and became the originators of Gangsta Rock - the way they were dragging that corny lead singer off the stage

But there is something that I find compelling about the show - so I will be back next year :hithead:
 
Winslow Wong said:
I must have missed when the Nasyt Bits sang "Fuck the Police" and became the originators of Gangsta Rock - the way they were dragging that corny lead singer off the stage
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that was a common thing for performers that considered themselves rebels or counter culture
at the time most cities including NYC had strict obscenity laws for public performances, most of the Caribbean still has similar laws - a lot of bands were arrested during 60s and 70s for being obscene: cursing or talking explicitly about sex
 
ViCiouS said:
best ep of the season... too bad it had to be the season finale
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Things wrapped up a little too nicely for me. Richie gets out of all his jams because of the stupidity of others. First Joe Corso talks himself into getting a bullet sandwich. Then he just happens to get a FBI handler who just happens to be a record industry groupie.

I give him credit for the way he handled the Jamie / Nasty Bits scenario. He played that just right.

That whole Clark not mailing the letter thing was just straight up Deus Ex Machina tho.

Also, the using of the picture his wife took to prove he was dangerous as the album cover was a bit much.

Episode was light on Devon, so that was good.

But overall it was a big reset switch episode which would have made Star Trek TNG writers proud :lol:
 
This about sums it up for me

"The Galasso plotlines on “Vinyl” have been fitfully entertaining, but they’re the show’s fundamental error. The creators didn’t have enough faith in the entertainment value of the music business. Too often, the record label has been treated like a colorful backdrop for one more organized-crime story. Sure, there have been mobbed-up record labels in the real world — but when the series dwells on Galasso, it feels like we’re eating the leftovers stashed at the back of Martin Scorsese’s refrigerator."

from http://www.nytimes.com/2016/04/17/arts/television/vinyl-season-1-finale-recap.html
 
dawilleyone said:
I peeped the CGBG movie on netflix that goes into the whole backstory based around how CGBG club in NYC got started. It's ok. Alan Rickman plays the main character. It's decent, not great. Lot of similarities with Vinyl actually minus the Gangsta Record Industry angle.
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I have no problem with CBGB the club - I actually went a time or two back in the day but this "Zelig" bullshit of Richie being at the birth of everything in music is getting old.
 
It was flawed but I still like the show.


Luckily HBO isn't like network TV or this show wouldn't get a second season.

I expect them to learn from their mistakes so season two should be great, I can't wait to see what they do differently.
 
OutlawR.O.C. said:
It was flawed but I still like the show.


Luckily HBO isn't like network TV or this show wouldn't get a second season.

I expect them to learn from their mistakes so season two should be great, I can't wait to see what they do differently.
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I agree. There's enough good bits to make a good show if they tighten it up. They made major improvements to season 2 of "The LeftOvers".

Then again they completely screwed the pooch with True Detective Season 2.
 
Just finished watching the last episode on-demand. I liked this, but like others have said it could stand to be a bit more focused. They need to study Mad Men and how that show handled a main character, side characters and was still able to let the audience experience the times and the history being made.
 
younggiftedandblack said:
Just finished watching the last episode on-demand. I liked this, but like others have said it could stand to be a bit more focused. They need to study Mad Men and how that show handled a main character, side characters and was still able to let the audience experience the times and the history being made.
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I agree about the Mad Men comparison, Richie Finestra and Don Draper are the same guy, flawed genius in there field that everyone recognize as such but are can be tried of their continuing bullsit. The difference is that Matt Weiner took the long view, he let us see Don at the top of his power, 1960 he was on top of the world, he was king of the roost and he hadn't yet become the broken person we would later see. So for the audience as Don slipped we still rooted for him because we knew what Don was and could be again.

With Richie Finestra, Terrence Winter took the viewer straight to Richie's downfall, so when we see him do fuck up after fuck up, we don't get why his family and friends just don't dump his ass, wey are they still listening to his bullshit. They have not earned the audience sympathy for richie or hope that he will regain his genius or that he is even a genius. He didn't pick the nasty Bits Jamie did, all we saw is that he wanted Elvis on the label, talk about being out of step. And I guess jamie is supposed to be Peggy but there is no relationship between richie and Jamie and unlike Peggy, she has no agency.

I am not saying that Vinyl should copy Mad Men but both Terrence Winter and Matt Weiner came out of the Sopranos camp and the basic building blocks in that show's formula is definitely one to emulate.
 
Winslow Wong said:
He didn't pick the nasty Bits Jamie did, all we saw is that he wanted Elvis on the label, talk about being out of step.
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Richie did pick the Nasty Bits - Jaime noticed them but NO One else was fucking with the demo except Richie...
NO One else not even Jaime saw how to channel them - Lester only caught on when he gave them the single.

Signing Elvis in 73 would have been genius especially if they over rode the Colonel and got Elvis to cut new music and touring again, and a great cash windfall when 77 rolls around and he dies

So far IMO Richie is Don Draper in a murkier more treacherous industry

Also I thought the Nasty Bits are supposed to be punk band but now I think they are going to be a shadow version of Aerosmith
:hellyea:

so far Jaime isn't Peggy... more like Joan.. the new girl Richie made partner seems like she was Peggy a few years ago

former A&R now mailroom kid just tapped directly into the future of artist promotion, payolla v2
Ray Romano looks like he is going to be Pete, and Julie is going to be Roger
 
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ViCiouS said:
Richie did pick the Nasty Bits - Jaime noticed them but NO One else was fucking with the demo except Richie...
NO One else not even Jaime saw how to channel them - Lester only caught on when he gave them the single.

Signing Elvis in 73 would have been genius especially if they over rode the Colonel and got Elvis to cut new music and touring again, and a great cash windfall when 77 rolls around and he dies

So far IMO Richie is Don Draper in a murkier more treacherous industry

Also I thought the Nasty Bits are supposed to be punk band but now I think they are going to be a shadow version of Aerosmith
:hellyea:

so far Jaime isn't Peggy... more like Joan.. the new girl Richie made partner seems like she was Peggy a few years ago

former A&R now mailroom kid just tapped directly into the future of artist promotion, payolla v2
Ray Romano looks like he is going to be Pete, and Julie is going to be Roger
Click to expand...


Signing Elvis might have been a good money making idea but not forward thinking. I still think that there is no Peggy - an important part of Don's redemption arc.

Still Vinyl need to find a way to make Richie someone we care about - like people cared about Don right up to the last meditation bell.
 
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Winslow Wong said:
Signing Elvis might have been a good money making idea but not forward thinking. I still think that there is no Peggy - an important part of Don's redemption arc.

Still Vinyl need to find a way to make Richie someone we care about - like people cared about Don right up to the last meditation bell.
Click to expand...
To be fair at the time the focus was immediate cash replacing Hannibal revenue and making payroll
 
http://pitchfork.com/news/65307-dj-kool-herc-sues-hbos-vinyl/

DJ Kool Herc Sues HBO's "Vinyl"

Hip-hop pioneer claims Mick Jagger and Martin Scorsese's TV show used his name and likeness without permission

A scene on a recent episode of HBO's "Vinyl," the TV series created by Martin Scorsese and Mick Jagger, shows a young DJ Kool Herc, played by Dominique Johnson, at one of the parties where the turntable pioneer was inventing hip-hop. Now, DJ Kool Herc is suing HBO for using his nickname and likeness without his permission,The Hollywood Reporter reports.

According to the complaint in New York state court, DJ Kool Herc (real name: Clive Campbell) was offered $10,000 to waive "overall rights" and consult for the show, an offer he rejected as too low. The lawsuit calls for a trial to determine damages for HBO and production company Broken Records' "unauthorized use of his identity, name, and voice," plus trademark infringement.

DJ Kool Herc's lawyer, Taso Pardalis, told THR, "It's beyond us why HBO and the producers of 'Vinyl,' a successful show about artists and music, would hurt an artist like Herc who has contributed so much to the music industry." An HBO spokesperson was quoted as saying, "We are confident there is no validity to the claims."
 
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