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Archive for the ‘Adventure’ Category

[LISTENED TO: Summer 2017] Danger Goes Berserk

After how much we loved Brixton Brothers Books 1 through 3 we were excited to get to Book #4 (which appears to be the final book since it has been six years, despite what was hinted at in the end).

However, there is no audio book!  No Arte Johnson guiding us through the mysteries of these teenage sleuths.  No one to say Rick (pause) Jerk.

Gasp.

So we did the next best thing.  S. read it to us on a long car ride.  This is second best because it’s exhausting for S. to read out loud for that long and to have the constant complaints of “can you turn it up” which makes me laugh every time one of the kids says it.

It was great to be involved with Steve Brixton and his chum Dana once again.

The detectives are back (in Steve’s hilarious new office) and there are two cases to look into.  One is about surfing.

The other is about… gym shorts.

Someone has been stealing Brody Owen’s gym shorts.  Brody even paid Steve to take the case.  But Steve doesn’t want to take it.  Both because it’s stupid and because he’s got more important, bigger cases to deal with. (more…)

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SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2016 Tour Box (2016).

This was the third Tour Box containing material that is similar in spirit, but different in fact to the previous two.

As always, it starts with the Wind extract, the sound of Fripp’s mellotron warming up and a voice saying “I prefer the early ones.”  It segues into a beautiful instrumental of “Moonchild.”  Once again, the lyrics are interesting in the song, but it sounds great without them.

The music stays in somewhat chronological order of release, but often with contemporary versions.  Like the 2015 recording of 1970’s “Peace” (which is okay) and “Pictures Of A City” (which is great).

“Prince Rupert’s Lament” is a two and half-minute guitar solo which has the Toronto crowd from the previous track overlaid, making this recording sound like a live one, when it is in fact an except from the recording session of Lizard.  There’s a rehearsal of the full 10 minute “Islands” from 1971 or so.

Then a “new” song, the two and a half-minute 2014 “Threshold Soundscape” which segues into the 2014 live version of “Larks’ Tongues in Aspic Part I” which is quite bass heavy.  Up next is a recording session of “Easy Money” without all the bells and whistles.

Then comes two live recordings from 1974.  “Improv I” which is full of gongs and guitars and chaos and segues into “Doctor Diamond.”  This is a song I had never heard before.  It never had an official release and this version seems like they’re just trying it out, like they weren’t really sure about the words, especially.  It’s heavy and  more than a little odd.

After a 30 second clip “From the Drummer’s Stool” which is the a drummer playing the intense “21st Century Schizoid Man” drums, the full song is played from 1974, sounding quite old in the mix.

The second disc continues with all manner of things in no particular order.

There’s more extracts from Lizard, this time a very pretty solo piano version of “Prince Rupert Awakes.”

And them it’s on to a non-Crimson album.  “The Other Man” is an alternate early version of the song from the Jakszyk, Fripp, Collins album A Scarcity of Miracles which I don’t know at all.

Next comes “Making Of Discipline,” it’s clips from bulk of the album spliced together into one song.  It’s very nifty.  There’s a demo instrumental of “Walking on Air” and then a three-minute live track called “Radical Action (to Unseat The Hold of Monkey Mind).”

There’s a demo of “Meltdown” (with guide vocals) and then a 40 second clip “From the Drummers’ Stools I” and a 20 second clip “From The Guitarist’s Stool I” which is part of the 21CSM solo.

Then comes some heavy stuff.  “The ConstruKction Of Light” live from 2014 with no vocal tag at the end followed by the bizarre Beatles mashup “Tomorrow Never Knew/Thela” live from 2000.

There another sample “From the Drummers’ Stools II” this one from “Larks’ Tongues In Aspic I” which is followed by “Nuages” (which I read as Nu-ages.  It’s trippy with bouncy bass

There’s a 2014 recording of the slow, jazzy “The Light Of Day” also originally from Scarcity of Miracles. It’s followed by a Lizard excerpt “From The Guitarist’s Stool II” and then a fast complicated 40 second 2014 soundcheck for “Larks’ Tongues In Aspic I.”

Moving away from that classic business, we jump to a new mix of “Dinosaur” from THRAK.  It’s followed by a final 45 second “From The Drummers’ Stools III” and then concluding with a cover of David Bowie’s “Heroes.”  This version is from 2000 and I find it kind of weak, especially compared to the powerhouse versions they would unleash later.

Overall there’s some cool stuff on this box, but I feel like there’s a bunch of stuff that’s not quite my Crimson taste.

[READ: January 12, 2018] The Nix

The Nix received some pretty positive reviews and I was quite interested to read it–even though I had no idea what it was really about.  It’s not until nearly page 100 that we find out what the title even means.

The Nix (in the story, not the novel itself) is a ghost story from Norway.  The protagonists’s mother heard about The Nix from her Norwegian father.  The Nix was a horse.  It encouraged you to ride it.  When you did, it never stopped running until it ran off a cliff with you on it.  In modern terms, The Nix is a person–usually someone you think you love. Someone who will leave you.

Summarizing the book is either really easy or something of a challenge depending on how many aspects you want to include.

The book more or less follows one man–starting with his failing writing career and then flashing back to how he got where he is.  That sounds pretty dull, but the book is set on the backdrop of contemporary America–from the rebellions of hippie parents to the rebellions of the 99%ers.

There’s also these wonderful subplots that prop up the main story. (more…)

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[LISTENED TO: September 2017] The Hitchhiker’s Guide to the Galaxy complete radio series

The history of the Hitchhiker’s Guide to the Galaxy is almost as convoluted as the story itself.

Douglas Adams (with help from John Lloyd) wrote the radio story in 1977.  It aired in 1978.  A second season aired in 1980.

Adams wrote the novel based on the radio series in 1979.  And then the second book The Restaurant at the End of the Universe in 1980.

Then they made the TV show.

Apparently Adams considered writing a third radio series to be based on Life, the Universe and Everything in 1993, but the project did not begin until after his death in 2001.  The third, fourth and fifth radio series were based on Life, So Long, and Thanks for All the Fish and Mostly Harmless which were transmitted in 2004 and 2005.

It’s interesting and a little disconcerting how different the radio play is from the story of the book. There are a lot of similarities of course, but some very large differences.

The first series obviously leaves a lot out from the book, since the book wasn’t written yet. (more…)

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McSweeney’s 49: Cover Stories: Contemporary writers reimagining classic tales (2017)

SOUNDTRACKBIG K.R.I.T.-Tiny Desk Concert #714 (March 5, 2018).

A while back I downloaded one of Big K.R.I.T.’s mixtapes and rather liked it.  Since then he seems to have become pretty huge and I feel like he has really expanded on his style.

K.R.I.T. sings/raps three songs from his new album.

4eva Is a Mighty Long Time, a double album in which he covers everything from blessings to depression while plumbing the carnal and spiritual depths of his own duality. All three songs performed here come from side two, titled after his birth name Justin Scott.

The first song “Mixed Messages” is really thoughtful.  He sings and raps

I gotta whole lotta mixed messages / in my songs am I wrong / to feel this way
I got me a lover but I still wanna cheat / I wanna be saved but its fuck the police
i never really liked the fake shit / but I’m attracted to the fake ass and fake tits
i really wanna sing but id better rap

K.R.I.T.’s backing band, which includes Burniss Travis II on bass and Justin Tyson on drums, also features on keys Bryan Michael Cox — the hitmaking producer and songwriter behind a slew of Billboard chart-toppers. Together, the trio delivers stripped-down versions of the latest thought-provoking material in Big K.R.I.T.’s catalog.

Introducing the second song, “Keep The Devil Off” he says his grandmother introduced him to gospel.  She brought him to church and “she would wake me up when i fell asleep saying wake up you gotta hear this.”  He sings beautifully.  And then the rapped verses are really well structured.

And when he stops to pay homage to his church-going grandmother before performing “Keep The Devil Off,” it’s clear that everything she instilled in him is keeping him alive, too.

Definitely in these times we need to keep the negativity away–keep the devil off.

His grandmother was clearly very important to him.

Big K.R.I.T. has kept her spirit alive through his music since his breakout mixtape, K.R.I.T. Wuz Here, which he released in 2010, the same year she died.  So it only makes sense that he would bring her with him for his Tiny Desk concert.

Halfway through his three-song set at NPR Music headquarters, K.R.I.T. stops to pull out an old-school tape recorder — the same one his grandmother would use to record him singing and reciting poetry as a child. “I have to feel like my grandmother was my first mix engineer,” he says before pressing play to reveal him and his brother as kids singing a duet of R&B crooner Donell Jones’ 1999 slow burner, “Where I Wanna Be.”

He plays the tape and cracks up listening to it.  He gets the audience to sing the refrain with his younger sell.  And then his grandmother introduces he and his brother as an R&B singer, “but I’m sticking with the rap thing.”

It’s a sublime interlude — one that resonated so strongly with K.R.I.T. that he had to start his last song, “Bury Me In Gold,” over to catch the proper beat. “I’m super emotional from this, too,” he says, laughing in a moment so genuine it was only right to leave it unedited.

He says “Bury Me in Gold” is not about gold really, it’s about having something so that in the event he gets to heaven he’ll give everything away.

He tells us to remember that peace of mind and your soul are more important than gold.

I’ve always enjoyed thought provoking rap and K.R.I.T.’s lyrics combined with his voice really work wonders.

[READ: May 29, 2017] McSweeney’s 49

It has been a long time (three years or so) since the previous McSweeney’s volume.  During that silence, the publishing house went non-profit and that seems to have taken up a lot of their resources.  They even address this a bit in the interdiction to this book.

But regardless of the reasons why, it is great to have them back.

As the subtitle says, this is a book of “cover stories.” What that means is a little vague–the contemporary writers model their story after a classic story.  I try to compare it to music covers, although in music covers the music and words are typically the same with some kind of variations.  Typically, the words are the same but the music is different.  I liked to flip this idea on its head for describing these stories in that the words are different by the music is the same.

Since I don’t know most of the original stories here I don’t know how similar these are to the originals–same character names?  Same ideas?  Same plot?  I don’t know.  And perhaps it would affect the way I read these stories if I was familiar with theory original pieces.  But without knowing them, these just turned out to be good stories from good writers.

Interspersed between the stories were poems and, in a wonderful commentary on our current shitty president and the cowardly house of representatives who on the day I finished this voted to strip 24 million people of health care, are comparisons of classic historical figures’ speeches with the petty garbled tweets of out current crap in chief.  Can we impeach this motherfucker already?  And send the whole lot of them to jail, please.  #ITMFA

As many McSweeney’s do, this one opens with letters.  And of course they aren’t really letters at all, even if they are addressed to McSweeney’s.  Many deal with cover songs, but a few are much more serious, political and right on.

WAJAHAT ALI writes from Camp FDR in Washington DC where he and his fellow prisoners were finally able to cobble together WiFi.  Ali explains that the Executive Order was inevitable the ban, the vetting, the registry were all just prelude. The need to protect against terrorism outweighs the individual rights and the rights of American Muslims…read the Supreme Court decision.

NICK JAINA writes about the Sept 23, 1970 episode of The Johnny Cash Show in which Ray Charles appears and plays “Walk the Line” and then “Ring of Fire.”  The letter states that the creator of “Ring of Fire” is actually mis-attributed.  The story is that June Carter wrote it after seeing a page in her uncle’s book of Elizabethan poetry.  But Johnny first wife claims that Johnny wrote it while drunk about a certain female body part: “all those years of her claiming she wrote it and she probably never knew what the song was really about.”  Then it reverts back to Ray Charles’ performance with an unseen band playing behind him–especially a great baseline–and as the song ends he lets out one last shudder and cackle like he just invented the orgasm.  “Johnny returns to the stage looking like a man who just watched someone have sex with his wife but was so in awe of how good he was at it that he could only thank him.”

ROBIN TERRELL talks about trumpmania in the Czech Republic from the perspective of a black woman, lesbian, child of civil rights activists, mother of a black man living in Prague.  The look in the eyes of people after the election: The U.S. is going to fuck us over again.  It stunned Europeans that the U.S. could generate someone fouler than Europe’s own crop of white male extremists.  She is now a refugee from her own country.  #RESIST #ITMFA

KIMBERLY HARRINGTON says she always believed that even in the darkest times humor has its place.  But lately she’s been bursting into tears rather than cracking a smile.  She hopes she can find things to laugh at–even death in these horrible times.

MARY MILLER says that for the longest time she thought her uncles wrote “Stagger Lee.”  Her uncles were musicians who wrote songs but also threw some covers into their shows.  She believed that “Stagger Lee” was one of theirs. She realizes that they are not famous and that no one will remember them–but she promises them that she will remember them.

RICK MOODY writes at length about Elektra’s 1990 tribute album Rubaiyat: Elektra’s 40th Anniversary.  I remember it coming out and I remember not getting it because it was too expensive. But Moody talks about what a great conceit this collection was to have contemporary artists cover classic songs.  He also talks about how the tribute album was quite popular in the 1990s (was it ever).  Some thought: He loves Bjork, but he thinks of the Sugarcubes as a cheeseball imitation of the B-52s (and that their “Motorcycle Mama” is pretty bad.  He mentions a few great tracks, like Kronos Quartet covering “Marquee Moon,” Metallica doing “Stone Cold Crazy,” and even a Howard Jones cover of “Road to Cairo” by the cult hero David Ackles.   But he says fully half of the collection is bad, some of it even awful–not worth its list price at the time but it has a great number of masterpieces on it.

Will Buttler (from Arcade Fire) wishes to make some amusing corrections: some errors during concerts, and apologizing for singing “I’m So Bored” with the USA because he is not.

ARIEL S. WINTER-This is an interesting philosophical question wondering whether or not Marty McFly actually created “Johnny B. Goode.”  How could he cover it before Chuck Berry had released the original.  As a child this blew her mind.  This facile beginning then goes on to say that before recorded music the notion of a cover didn’t really exist.  And indeed in the 1950s people recorded songs without concern for copyright.  It’s also true that when Chuck Berry plays Johnny B. Goode live, it’s not considered a cover of his original.  She concludes by that the Back to the Future is probably the first time she ever heard Johnny B. Goode.  So Marty McFly’s is the original to her (as it is to all the kids at the dance).  So in addition to a song having an original for the performer there is also an original for the listener.  Anyone who has loved a song for years before finding out that it’s a cover has had that experience.

INTRODUCTION BY THE EDITORS

This introduction talks about how the first time they did a “cover story” was in 1999 in issue 4.  Rick Moody covered Sherwood Anderson’s “The Egg.”  They had been planning to do an entire issue of covers as far back as two years ago and then things happened in the McSweeney’s universe to delay it.  And now : this issue is being born in a moment of racial, social and economic reckoning and imminent fascism…into a country that looks much different from the one in which it began, fronted now by a mean and disingenuous imitation of a president.   As such: Tucked between these thirteen beautiful renditions of thirteen classic stories are instances when a cover is not an homage but rather a perversion of its predecessor”  And by that they offer examples of eloquent speeches by former leaders and then tweets from our pervert in chief.

GARY BURDEN-excerpt from Nobody Knows (an autobiography)

Gary Burden created the cover images for this issue.  I had no idea who he was, but this autobiography tells me just how interesting a fellow he was.  He has been responsible for some of the most iconic album covers of the last 60 years!

These excerpt shows his origin story–he was 8 on December 7, 1941 and he has had vivid memories of WWII.  When he was 16 he joined the Marines.  But he was restless, got involved in bad things, was dishonorably discharged and got mixed up with even worse people (he says he can’t believe the things he did back then).  In 1964 he met “Mama” Cass Elliot. They spent a lot of time together and this opened him up to meeting all kinds of people: David Crosby, Stephen Stills, Graham Nash.  Eventually he met and hung out with Jim Morrison and designed Morrison Hotel (a fascinating story that).  In one of the nicer things I’ve heard someone say he says that Jim was a real poet, someone who was unafraid of delving deeply into life irrespective of the personal cost.  Then he met Neil Young. He says that Buffalo Springfield has been his favorite band and then one day Neil came to Mama Cass’ house in his 1948 Buick Hearse.  He was also hanging around when CSN decided to become CSN&Y and then he and Neil became friends. and Neil sold him his house in Topanga.  Eventually he made the cover art for After the Gold Rush (and he gives a little story about the old lady there on the cover).  I’m kind of curious to read this whole book now, especially if it includes album covers.

EMILY RABOTEAU-“The Babysitter” after “Some Women” by Alice Munro
This is the story of a babysitter for Mrs Fagan.  She is a young girl and her employer is very rich and locally famous.  And quite eccentric (she went to East Africa and allegedly witness the Ark of the Covenant and then wrote a controversial book about it).  But in their town she was known as the white lady with black kids (Maya 3, Eddie 10 months old).  The story reflects back on the babysitter as child (she is now the same age as Mrs Fagan was when the babysitting began.  The babysitter’s mother is kind of jerk and is very sarcastic about this babysitting arrangement.  She is also a very strict Jehovah’s Witness, so when the narrator gets her first period rather than tell her mom, she just takes products from Mrs Fagan.  As the story opens Mrs Fagan’s son has just arrived and that changes the dynamic in the house.  How will Mrs Fagan take it when the narrator accidentally sets fire to the kitchen? I really enjoyed the way the end of the story plays on the notions of memories and the impact people have on others.

MEGAN MAYHEW BERGMAN-“The Lottery, Redux” after “The Lottery” by Shirley Jackson
“The Lottery” seems like a pretty easy story to cover–I think everyone knows everything about it and it has been covered in things like The Hunger Games in their own ways.  I don’t know if this story references the original (with the redux),  for this story the people of the island of Timothy were exiled from America fifty years earlier for crimes against the environment.  They were gathering on July 27th, the day of the lottery.  And indeed the lottery is a death sentence, although it’s not entirely clear why.  Interestingly, the story is more about the girl chosen and what her life up to that point has been like.

ANTHONY MARRA-“The Tell-Tale Heart” after “The Tell Tale Heart” by Edgar Allan Poe
This story doesn’t diverge all that much from the original except for the wonderful modern twist on the beating heart.  It’s hard to say more without giving things away but I loved the modernization.

JESS WALTER-“Falling Faintly” after “The Dead” by James Joyce
I didn’t know all that many stories before hand, but I knew this one very well and this is wonderful homage.  It is not in any way rewriting the story–it’s a very different story, but it alludes to the Joyce story and directly mentions it and it is quite clear where the connection between them is.
Michael is a writer.  He is married with kids but has moved temporarily out to New York to write for this new police procedural.  The show is doing well and the female star is quite beautiful.  They bond over cigarettes–she is foreign and smokes like a European, he recently started again.  As stories like this tend to go, Micheal gets the wrong idea about this young, hot actress.  And given that she is not American she misunderstands the subtleties of his behavior (which isn’t very subtle admittedly).  But he wants her to know that his story is a tribute to Joyce’s “The Dead.”  When he talks about the dead she thinks he means real dead people and is pretty freaked out.  This leads to a restraining order and a police intervention–not how he thought his life in New York would go.  What doe sit have to do with “The Dead”?  Well they are standing smoking in the snow as it gently floats to the ground falling through the universe, faintly falling.

LAUREN GROFF-“Once” after “Wants” by Grace Paley
I loved the way this story started.  I saw my enemy at the beach.  With that as a groundwork we slowly learn just how this woman has an enemy (it’s an old boyfriend’s mother) and how they have grudgingly begun to respect each other decades after the two broke up. I really enjoyed this short piece.

ROXANE GAY-“Men on Bikes” after “Rape Fantasies” by Margaret Atwood
I can’t imagine what the original of this story is.  The actual story of this is pretty peculiar itself.  Basically, the men in town have all started riding bicycles everywhere.  It started when one of them was arrested for drunk driving.  He didn’t lose his license but his wife took it away from him.  He dug out a bike and began riding it.  She thought he looked ridiculous, but when another man had his license taken away, they began riding together.  It was quite a sight, although I’m not sure what the point of it was.

NAMWALI SERPELL-“Company” after “Company” by Samuel Beckett
I like Beckett, and I know that he can be confusing.  I don’t know what “Company” is about so I have no idea how it relates to it, but man I did not get this at all.

It was confusing and really long.  It is broken into many small sections which might be connected.  The first is about the brightening which happened although many people missed it. Then we learn about the ship which is electro epidermal, which is cool but not really explained  and then the story turns into a quest for melanin and just when you think it’s a sci-fi story, it becomes a story about race.  There is a pale man tied to a tree hitting a sack (pound pound).  There’s a lot of vomit.  If the white man inseminates even one person, finding pure stem cells is impossible.  Dark skin marked you as  lucky when the darkening came.  But then she says the mission is over.  There’s more vomiting.  A fellow is supposed to be invisible in the village but Pound sees him.  There’s more vomit, a section titled rape, where Pound rapes Lila every once in a while and then who the hell knows what happens at he end.

KIESE LAYMON-“And So On” after “Hills Like White Elephants” by Ernest Hemingway
Weeks ago 64 black folks changed the world.  You are the 11th.  Aside from the direct address to the reader the story is pretty straightforward and interesting.  Chanda Stewart was 8th, the narrators research assistant was 9th and Doug E., Chandra’s boyfriend was 1st.  They are at a fancy restaurant, Chandra, the narrator and you.  She swears that Doug is a porn star, but the narrator argues that having 1089 twitter followers and awkward consensual sex with a few white women filmed on an iPhone 2 in his fake Timberlands, blue knee brace and yellow wrist bands makes you a porn participant, not a star.  The story comes down to which side the narrator is going to choose.   sides or run for our lives.  Because while they were talking, Doug E. and about sixty young black kids were marching down the street.  To the school.  They each had an ax and a shovel.

MEG WOLITZER-“If You’re Happy and You Know It” after “A Perfect Day for Bananafish” By J.D. Salinger
I haven’t read this Salinger story in a long time, so I don’t really know how it connects to this, but I really enjoyed it.  I enjoyed the way that it was written which was a little confusing but in an intriguing way.  Set in a hotel on Miami there is the young woman in 609 who arrived with her new husband.  She’d sent him off to the beach.  We see her telling her parents that he is taking it easy, but they want to know if he is taking the Klonopin.  Later that night in the lobby, a four year old girl, Chloe, is in the lobby of that hotel watching a man play piano.  The man is a guest also and he is playing and really getting into it.  Another boy asks if he can play This Old Man and the player jokes about the boy calling him old.  But Chloe asks if he can play “If You’re Happy and You Know It.”  He says he might be happy but he may not know it. She is puzzled by that.  He says she is breaking his heart.  We soon realize that the pianist is the Klonopin man, and while things don’t get dark exactly, they certainly get strange.  And Chole’s parents have foisted her off on a poor babysitter the whole time.  This was one of my favorites in the book.

T.C. BOYLE-“The Argentine Ant” after “The Argentine Ant” by Italo Calvino
I can’t imagine what the original story is like, but this one from Boyle was really icky and really fantastic.  Its’ a fairly simple premise–a family moves to a rental property in Argentina, only to find that it is swarming with ants.  The ants are everywhere–even crawling all over their baby.  They run to the next door neighbor’s house only to see that they know about the ants and might have a secret weapon.  But mostly they just seem to be putting their furniture in jugs of water–presumably as a deterrent.  There is also an Ant Man who might be fighting the ants or who might actually be bringing more.  What is great about the way Boyle writes this is that the guy renting the house is working on an academic theorem that his wife thinks is rather frivolous.  And that tension underpins everything.

ALICE SOLA KIM-“One Hour, Every Seven Years” after “All Summer in a Day” by Ray Bradbury
Again I don’t know the original, but this story was great, and also weird. The weird part is that the story seems to start over multiple times. And that’s because there is a kind of time travel component to it.  The title refers to how often the sun comes out on Venus.  There is a girl, the main character, named Nargit. She was born on Earth and so she saw the sun.  The other kids are pretty angry at her for it (as if it’s her fault).  They are abusive to her, and the time travelling is the girl’s attempt to protect her younger self.  Many things go wrong but they bring about different results.

CHRIS ABANI-“Sleepy” after “Sleepy” by Anton Chekhov
This story was pretty horrific.  Kemi, a sixteen year old black girl who is now an orphan is working for a white family.  The family has two little children, one of whom is a baby.   The family is horrible to Kemi.  Pretty unrelentingly horrible.  Kemi is tired and never gets a break and the baby cries all the time.  She can’t soothe the baby and the family blames her for her failures.  Her exhaustion builds and builds until you pretty much know the ending several pages before it happens.

TOM DRURY-“The Yellow Wallpaper” after “The Yellow Wallpaper” by Charlotte Perkins Gilman
I know the original story although not super well.  But this version feels almost exactly the same. I honestly can’t tell what the difference is (without having re-read the original again to compare).   Jane and John are renting a place on an island for the summer.  John thinks Jane is not strong and keeps her hidden away in a room with yellow wallpaper.  He more or less runs everything in her life until she starts seeing people through the wallpaper.  You know things can’t go well from there.

POETRY:

REBECCA LINDENBERG-“Having a Coke with You” after “Having a Coke with You” by Frank O’Hara

MATTHEW ZAPRUDER-“Poem for Keats” after “Ode to a Nightingale” by John Keats

STEPHEN BURT-“A Nickel on Top of a Penny” after “Piedra Negra Sobre Una Piedra Blanca” by César Vallejo

BRIAN TURNER-“The Metaphor Program” after “The Red Wheelbarrow” by William Carlos Williams

STEPHEN BURT-“Roofers” after “The Armadillo” by Elizabeth Bishop

MATTHEW ZAPRUDER-“Poem on the Occasion of a Weekly Staff Meeting” [the first two lines are taken from “A Poem on the Occasion of the Consecration of Sandford and Shippon Churches” by Rev. F. Wilson Kittermaster, 1855]

STEPHEN BURT-“Suspense” after “To Brooklyn Bridge” by Hart Crane

KEVIN MOFFETT-“Second Wonder”-a monologue that will air on The Organist.
I found this puzzling at best.

PATTY YUMI COTTRELL-excerpt from Sorry to Disrupt the Peace
I read this book not too long ago.
This except was about two young children who invented a game called “Confession” in which the boy confesses his real or imagined sins to his sister.

~~~~~

The comparison quotes are called Great Speeches from History vs. the Tweets of Donald J. Trump:  I can’t bring myself to write any of the jerks tweets.

Mahatma Gandhi from the “Quit India” speech, 1942 vs. a Feb 4 2017 tweet

Abraham Lincoln’s “The Gettysburg Address” 1863 vs. a Feb 18 217 tweet (about fake news)

Martin Luther King Jr from “Letter from Birmingham Jail” vs. Feb 21 2017 (crowds planted by liberal activists)

Frederick Douglass from “The Hypocrisy of American Slavery” 1852 vs. Feb 6 2017 (negative polls are fake news).

Franklin D. Roosevelt, inauguration speech 1933 vs. Jan 22, 2017 (including all my enemies)

 

The bad thing about this issue is that the last four or five stories were all real downers, making it a pretty tough slog.  But I loved the idea, and I liked that they found the time and space to point out how stupid trump sounds and looks and is.

For ease of searching, I include: Cesar Vallejo

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SOUNDTRACK: ROY AYERS-Tiny Desk Concert #712 (March 1, 2018).

I hadn’t heard of Roy Ayers, although I imagine I’ve heard his work somewhere before.  I love the vibes so I was looking forward to his set.

I was a little bummed to hear him singing–I assumed it would be all instrumental. Especially since his songs aren’t exactly lyrically masterful.  But the jazzy funky solos were pretty great.

Roy Ayers [is a] 77-year-old jazz-funk icon.  He sauntered through the office with a Cheshire grin on his face, sharing jokes with anyone within earshot. Accompanying him was a trio of brilliantly seasoned musicians — keyboardist Mark Adams, bassist Trevor Allen and drummer Christopher De Carmine. Later during the performance, pride washed across Ayers’ face as his bandmates took the spotlight. (Be sure to watch as Adams woos not just the room but brightens Ayers’ face during his solo.)

The set began with one of Ayers’ more recognizable hits: an extended version of “Searching,” a song that embodies the eternal quest for peace and love.  The vibes solo at 2 and a half minutes is worth the wait, though.

The lyrics are essentially.  I’m searching, searching, searching searching. It takes over a minute for him to even get to the vibes!  It’s followed by a groovy keyboard solo that starts mellow be really takes off by the end.

During “Black Family” (from his 1983 album Lots Of Love), you’ll hear him call out “Fela” throughout. That’s because Afrobeat legend Fela Kuti was a huge influence on Ayers in the late 1970s; the two eventually collaborated on an album, 1980’s Music Of Many Colors. “Black Family” is, in part, a tribute to Fela, even if the original version didn’t include his name.

Again the lyrics: “lo-lo-lo-lo-long time ago” and not much else repeated over and over and over. But it’s all lead up to a great vibes solo (as the band gets more and more intense).  I love that the keyboardist has a keytar as well and is playing both keys at the same time–soloing on the keytar with an awesome funky sound.  There’s even a cool bass solo.

Concluding this mini-concert, Ayers closed the set out with his signature tune, “Everybody Loves the Sunshine”, a feel-good ode if there ever was one. The essence of this song flowed right through him and out to the NPR audience.

Another terrific vibes solo is followed by a keytar solo which is full of samples of people singing notes (they sound like Steely Dan samples)–it’s weird and kind of cool.

[READ: August 2017] McSweeney’s No 46

As the subtitle reflects this issue is all about Latin American crime.  It features thirteen stories selected by Daniel Galera.  And in his introduction he explains what he was looking for:

DANIEL GALERA-Introduction
He says it used to be easy to talk about Latin American fiction–magical realism, slums and urban violence.  But now things have expanded.  So he asked 13 writers to put their own Latin American spin on the crime story.

And of course, each McSweeney’s starts with

Letters

DANIEL ALARCÓN writes passionately about Diego Maradona’s famous “Goal of the Century” and how as a child he watched it dozens of times and then saw it thousands of times in his head.  When he learned of Maradona’s questionable “Hand of God” goal, his father said that his previous goal was so good it counted twice.  But Daniel grows sad realizing that the goal of the century also marked the beginning of Maradona’s decline.

LAIA JUFRESA this was a fascinating tale about a game called Let’s Kill Carlo that her family played.   It involves a convoluted history including her mother “inventing” a child in order for her husband to come to Mexico from Italy and avoid conscription there.  But when this child “Carlo” “came of age” they had to think of reason why he wasn’t there anymore–so they invented the Let’s Kill Carlo game.

YURI HERRERA waiting for a bus in New Orleans as a man lay in the gutter also waiting.

VALERIA LUISELLI her friend recently moved to Minneapolis with her nervous wreck Chihuahua named President.   He was diagnoses with terminal cancer and the vet encouraged all manner of alternative therapies.  This friend was a very sweet person and had many virtues. And yet perhaps through her virtue the alternative therapy seems to have worked.

FRANCISCO GOLDMAN wants to know why immigration officers at Newark Airport are such dicks (and this was before Trump–#ITMFA).  He speaks of personal examples of Mexican citizens being treated badly.  He had asked a friend to brings books for him and she was harassed terribly asked why did she need so many bags for such a short stay.  Another time he was flying back to NYC with a Mexican girlfriend.   She went through customs and he didn’t hear anything for hours.  He didn’t know if she would even make it though customs at all–even though she’d done nothing wrong.   He imagines wondering how these officers live and what their lives must be like that they seem to take pleasure in messing with other people’s lives. (more…)

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SOUNDTRACK: VAGABON-Tiny Desk Concert #710 (February 23, 2018).

It’s always my favorite artists who play the shortest Tiny Desk Concerts.  August Greene was okay and it went 36 minutes but Vagabon didn’t even manage ten.  Neverthless, there’s something magical about Vagabon.  Her voice is unique, she brings a new perspective to indie rock and she seems pretty nice too.

Laetitia Tamko, the artist known as Vagabon, is a 25-year-old, Cameroon-born musician with a big, tenor voice just bursting with new musical ideas. Though all the songs here are about love, Vagabon also speaks proudly to black women on her 2017 album, Infinite Worlds. There aren’t a lot of black women in this bedroom studio community of independents, a community that, especially in New York, has welcomed her and where she mostly found stimulus and guidance.

Her pride shines bright in her smile and as well it should. For someone self-taught and who’s been playing for only the past four years, her arrangements are adept and thoughtful in an independent rock music scene that can often be lyrically lazy and texturally tepid.

Her album is quite big with loud guitars and crashing drums.  But in this Tiny Desk, it’s just her and her equipment (and a stellar bassist on the second and third songs).

For the first song “Fear & Force,” she plays electric guitar.  There’s some lovely picking and great chords before she sings in her unique voice–whispered and deep (so much deeper than her speaking voice).  I love that she is still picking as she uses her left hand to start the electronic drum machine that makes the song sound so big.  The album version gets really big in the middle but she keeps things quiet here.  The chorus is wonderfully powerful and elliptical.

“Freddy come back, I know you love where you are, but I think I changed my mind.”

I love the abrupt ending too.

We were also treated to a new song during this Tiny Desk performance called “Full Moon In Gemini,” which, coincidentally, was performed on the day of a total lunar eclipse in Leo – she warned us all to “watch yourselves.

It’s amazing to hear her sing so powerfully after her delicate speaking voice.  She introduces Evan Lawrence on bass and his live bass is a tremendous addition.  He plays great lines that really flesh out her playing.  I love the way the song ends.  She sings “I lay in my bed with you it fees so …  so … good,” and the drums and bass continue for ten seconds before she shuts it all down (having already grabbed her mug and taken a sip).

Before the final song she explains that she taught herself how to play these instruments about four years ago.  Since then she’s been “hauling ass.”

Vagabon’s poetry speaks to love. You can hear it in “Cold Apartment.” While she closes the Tiny Desk set with it, it was the first song she ever wrote and one that came to her during a difficult time in her life.

“And we sat on my cold apartment floor
Where we thought we would stay in love
Stay in love”

She says she finds it very gratifying to share it in this powerful way.  The song has a terrific guitar melody with an outstanding accompany bass.  This is all especially true during the bridge/chorus when the bass gets really low and works perfectly with what she’s playing.  I find it actually works even better than on record where the drums are terrific but kind of drown out the bass.

I really hope she comes back around for a tour soon.

[READ: December 30, 2017] Beyond the Western Deep 

Tabby brought this book home and thought I’d enjoy it.  Which I did.

It’s a story of war with rather cute animals drawn by Bennett

It opens with some story telling about the history of this land.  It looks almost like cave drawings chaos and endless nights of war.  Eventually a treaty was signed and the land was divided into four places.

The Ermehn were driven from ancestral lands and made to live in the Northern Wastes (they’re not happy about it).
The Canid established the Kingdom of Aisling and has the strongest army in the land.  They are ruthless and humorless.
The Felis built the crowing achievement city of Gair.
The Vulpin live in the desert kingdon of Navran.
Sungrove is ruled jointly by the Lutren and Tamian races

The seafaring Polcan are poised to invade Sunsgrove.

Confused? Me too. It’s a heck of a lot of backstory for what is a fairly short and simple first part. (more…)

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SOUNDTRACK: BIG DADDY KANE-Tiny Desk Concert #708 (February 19, 2018).

I remember Big Daddy Kane, of course, although I don’t think I knew any of his songs.  As far as I can tell, Kane hasn’t released an album since 1998.  But his voice sounds great and he seems pretty content to rap his old hits.

The smooth operator, Big Daddy Kane, still emits that same palpable swag he did as a lyrical heartthrob during his heyday. He strides into the room and fully commands it with his presence.

One of the greatest to ever bless the mic, Big Daddy Kane treated Tiny Desk to an office block party in the true essence of hip-hop.  Kane, aka Dark Gable, was a breakout member of the seminal Juice Crew in hip-hop’s golden era during the latter part of the 1980s. He popularized quick-cadence flows and multisyllabic rhyme schemes.

He performed a short set of classics, including “Smooth Operator,” “Ain’t No Half Steppin’,” “Raw” and a bonus freestyle. Through his warm, engaging and devilishly self-effacing style, the pioneer used an interlude between songs to address the intergenerational divisiveness defining rap today and the importance of fans of all ages supporting whatever they like, while “focusing on what’s positive and keeping that in the spotlight.”

The Concert opens with a great drum beat and a funky bass line for “Smooth Operator.”  The rather wimpy keyboard riff with the sax is kind of a wasted opportunity to give fuller sound to this song.

It’s interesting that Kane–whose voice still sounds deep and full–keeps the old songs with incredibly dates references like “Freddy Krueger walking on Kane Street.”

Mid song Kane says, “stay right here Ben… gonna make this into a family affair.  Are there any smooth operators out there?”  They sing the riff.  Then, “Let me see whats happening behind me.  Jay Dub (John Williams) on sax, is he a smooth operator?”  He is.  Kane tells him to “Make yourself at home” with a good solo.

While that solo is going on, he says “certain members of the band just can’t wait till their turn (looks at keyboardist who had been playing with the solo).  He says, “He’s been with me a long time, he’s the baby of the crew we call him J Minor (Judson Nelson)–most places we play he’s not supposed to be there, he’s not old enough. If I ask you to play like a grown man, how’s that sounds, baby?  He plays a smooth solo.

Kane: “I forgot there was another verse.  I was having so much fun looking at them.”

We should keep this party going.  I saw a couple of these people looking at their watch.  Some of you all might be on lunch break I don’t want to mess it up

“Ain’t No Half Steppin” starts off with simple sax and some more dated lines:  “Friday the 13th, I’m gonna play Jason.”  (Rappers loved horror movies back in the day).  He gets the crowd into it: “Say it like it’s 6’o clock Ain’t no half steppin’.”

“Let me hear you once more…  I lied, just one more time y’all.”

After the song he says, “I’m enjoying myself.  This is all right for real I might fill out an application for a job here next week.  this ai’iiht.”

“I’m gonna do one more song and then were gonna shut it down and this ain’t got nothing with y’all getting back to work, I’m starting to get hot in here.”

A great drum beat starts off “Raw” which is followed by that crazy squeaky sax.  And there’s this one last pop culture line: “The rhymes I use definitely amuse better than Dynasty or Hill Street Blues.

Mid-song, a cool faster drum beat is added–I love the snare sound Matt Lambert gets and then the whole band kicks of for a great riff on bass and sax to end the song–it’s a shame it ended there as it was really taking off.

People don’t want him to leave, so they do a freestyle.  A cool slide bass line from Benjamin Geis and staccato piano.  It’s my favorite music of the show.  And the speed of his freestyle rap is really impressive.  And he (virtually) drops the mic and is off.

It’s a great old school set.

[READ: Summer 2017] The Long Earth

I have read nearly everything that Terry Pratchett has written (I kind of drifted a bit towards the end, but I’ll catch up eventually).  Anyway, I was in the bookstore in Bethlehem, PA and saw this book.  It’s a series I’ve known about but didn’t know very much about.  I decided to check it out to see what it was all about.  I don’t know very much at all about Stephen Baxter except that he’s a hard science fiction writer, meaning he focuses as much on the science as he does on the fiction.

So how does this pair–a hard science writer and a comic parodist of fantasy work together?  Well, honestly the story is much more Baxter than Pratchett. Although since I haven’t read any Baxter, I guess I can’t say that legitimately, but it’s definitely not very Pratchetty.

Well, maybe some of the character interactions are kind of Pratchetty, but certainly not like any of his Discworld characters.  As with any co-writing experience, I wondered how this story was constructed.  So I found an interview with Stephen Baxter from around the time they finished writing the fourth and final book

How did the idea for the Long Earth series come about?

The whole thing was basically Terry’s idea. He’d started work on this project and short stories set in this world back in the ’80s but he got stuck with it.  He wanted to have a very human, level way to access these words. You don’t need to get there on a rocket ship, you can just walk in.  At the same time, the vision for the end was going to be out on a galaxy somewhere.

We’d known each other for years and [about] five years or so ago at a dinner party, Terry [said he] was going through his archives looking for unpublished short stories and things like that and he came across an aborted project from about 30 years ago.  We were just talking about that and it just struck me as immediately a great idea because it’s so simple and yet it’s got endless possibilities.  By the end of that [party] we already had the storylines and Terry was going to send me the material.

Terry was having trouble seeing so Stephen did the typing and then “We fixed each line and each scene together.”

So that’s that sorted.

Baxter also says “it just struck me as immediately a great idea because it’s so simple and yet it’s got endless possibilities.”

And that is the truth.  The story can be summed up pretty easily. (more…)

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