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Archive for the ‘Children’s Books’ Category

SOUNDTRACK: JIMMY EAT WORLD-Tiny Desk Concert #938 (January 29, 2020).

I’ll never understand the logistics of the Tiny Desk Concert setup.

This Concert features Jimmy Eat World, an unarguably huge band (at one time at least).  They’re doing something cool–playing their songs acoustically with no drums.

And they play for … less than 12 minutes.

Meanwhile the previous Tiny Desk Concert was by a young reggae person who, while she won a Grammy, is certainly not as well known or regarded as Jimmy Eat World.  And she got 15 minutes.  I’m okay with bands that I like playing a short set, it’s just frustrating that so many bands that I don’t know–usually in genres I don’t like as much–get two and sometimes three times as much air time.

But whatever.   Maybe the bands don’t want to play for that long.  But Jimmy Eat World came for their Tiny Desk Concert looking to have fun.

Jimmy Eat World showed up to the NPR Music office all smiles and no guitars, goofing off with toy instruments behind the Tiny Desk and cracking jokes. They borrowed a couple acoustics, a miniature gong and tambourine emblazoned with Bob Boilen’s face, which set the tone for a slightly silly, but altogether gracious performance.

They open with “Love Never” which features Jim Adkins singing lead and Robin Vining singing harmony.  I never noticed how fantastic their harmonies are–they are really spot on.  I wonder if it’s more noticeable in this stripped down format (or maybe it’s because Vining is a touring member and was picked because his voice is amazing).

What’s really funny during this song is that drummer Zach Lind is standing behind them the whole time doing nothing. And then for the last note, he hits Bob Boilen’s gong.  It’s pretty funny and everyone cracks up.

The next song, “All the Way (Stay)” comes from the band’s tenth album, Surviving.  [They have been around for twenty-seven years!].  Zach plays the tambourine.   Again, the vocal harmonies are outstanding as Robin picks out the melody while Jim strums.

Introducing the final song, Jim says their new songs reflect their earlier song ideas: “Your sense of self-worth coming from external validation is an empty pursuit,”

Guitarist Tom Linton joins the band for the final song.  During the introduction, Adkins gets distracted by Tom’s guitar (and goofs about throat singing) before getting everyone super excited that they’re going to play “The Middle.”

I’m fascinated to realize that I’ve known this song for nearly 30 years.  It’s still fun to sing along to–which the audience does.

this feel-good Bleed American single has remained a constant source of goodness in a sometimes bleak world. When the audience joins in for the last chorus, an uplifting catharsis streaked through our hearts as we all sang, “Everything, everything will be just fine / Everything, everything will be all right, all right.”

I’m always thrilled when bands like this get a Tiny Desk and I hope there’s more to come!

[READ: February 1, 2020] Rust Volume 1

Volume 1 picks up right where the prologue left off.  We are at Roman Taylor’s farm.  Roman is typing a letter to his (deceased?) father.  He says that mom is doing good and the little ones are fine. He hopes little Oswald will stick round, he could sure use help on the farm.

Then he tells about Jet Jones.

How on the day he arrived, Jet came screaming through the sky like he’d been shot out of a cannon.  He crashed through the barn and into the field.   When Roman went to look at him he heard a sound coming from behind the barn.   It was a large machine, clearly on a mission

The machine grabbed the boy and hurled him into a tree–which snapped in half. (more…)

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SOUNDTRACK: KOFFEE-Tiny Desk Concert #937 (January 27, 2020).

I can honestly say I didn’t know that there were musicians making new reggae music.  I mean, obviously there are–it’s not like the genre just stopped or anything–but I never hear about them.

So I was pretty surprised to play this Tiny Desk Concert and hear a reggae song start up.

Koffee is a 19 year-old Jamaican reggae star.  She just won a Grammy for best Reggae album (for an EP).  She is the first woman and the youngest artist to win the category.

She sings four songs.

“Raggamuffin” opens with her shouting out NPR quite a lot (is that all improvised or is she modifying existing lyrics?).  While the music has the typical reggae rhythm (although faster than old school reggae to be sure), her delivery is really amazing.  She sing (raps?) so fast during the verses.  It’s really an impressive display even if I can’t understand a word she says.

Her band is from different places around the world

“Rapture” has her singing along with her backing singers, Zhayna France and Shanice Drysdale (both from Jamaica) who really flesh out her voice.  There’s some cool moments where the lyrics pause to allow her to say a pointed word.  This song has a guitar solo from Thomas Broussard (from Paris).  It’s also really fun watching drummer Stephen Asamoah-Duah (London) and percussionist Stephen Forbes (Jamaica) communicating with each other and high-fiving at the end of the song.

Koffee centers her music around faith, resilience and gratitude. She has a new perspective to add to the pantheon of mostly male reggae greats and it’s resonating with a new generation that’s just getting hip to the iconic sounds. As her Tiny Desk performance shows, Koffee makes the best of her surroundings, channeling the day’s buzzy energy into a balancing act of youthful heart and old-pro precision, proving why she has become one of the most invigorating voices in reggae.

“Toast” opens with a fun keyboard melody from David Melodee (London).  Then the full song kicks in with a groovy five string bass from Nana Pokes (London) and acoustic guitar strumming from Broussard.  Mid song he switches back to electric for a brief solo.

“I want to thank everybody who’s been involved,” Koffee told the crowd halfway through her show. “You have now become a part of my journey.”

The final song “W” is her latest single.  It’s a slower ballad.  I realize that she has a pretty heavy Jamaican accent but I really can’t tell how many times she says the letter W in the song.  It sounds lie a lot, but perhaps she’s rhyming it with something ele.

[READ: February 1, 2020] Rust Volume 0

Royden Lepp was born in the Canadian prairies which I’m sure had some impact on the design of this book–set in fields and farms and colored with sepia tone.

I saw this book series at the library and thought it looked really interesting.  Royden Lepp’s artistic style (and color palette) are really cool and the premise of a military weapon that looks like a little boy is pretty fascinating.

The book starts 48 years ago in the middle of a war.  Amid the human carnage there is a boy with goggles on.  He has on a jetpack and appears to be flying around saving people.  He saves them from a large robotic monster/creature which someone calls a kamikaze drone.

The first forty or so pages are almost wordless–its’ all battle sequences.  It is quite exciting, but it is also without question, a little confusing,   Especially since this a world that is not quite like ours.  (more…)

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SOUNDTRACK: J.S. ONDARA-Tiny Desk Concert #936 (January 24, 2020).

WXPN has been playing J.S. Ondara quite a lot since his album came out.  And while the DJs would often give some details about his life story, he gives a bit more here.

J.S. Ondara’s journey to the Tiny Desk is a fascinating one. From his home in Nairobi, he listened on his sister’s radio to American artists, including Nirvana, Jeff Buckley, Death Cab For Cutie and, most importantly, Bob Dylan. He wanted to be a folk singer, so he moved to Minnesota, Dylan’s home state.

In between songs he narrates his life in a wonderfully comically understated style.

Ondara told us his story. “I remember, at one point, someone told me about this contest that you guys do called ‘the Tiny Desk Contest.’ And I was, at the time, desperately trying to be a folk singer. And I’m not quite. I’m not a big fan of contests, but I like NPR. So I figured I’d give it a shot. And I’d just written that song, ‘Lebanon.’ So I made a video of me playing that song, and I submitted it. And I suppose that things didn’t go quite in my favor. So I figured I’d find a bit of a roundabout way to get here, which involved making a record and touring it relentlessly and stalking Bob [Boilen] all around South by Southwest. (I actually didn’t do that part.) I was thinking about it. And now I’m here. The journey would have been a lot shorter had I just won the bloody contest. It’s on me, not you, I suppose, I should have written a better song.  But in the very wise words of Miley Cyrus, ‘it’s not about how fast you get there, it’s about the climb.’  I can’t stop quoting that song, it’s one of those words even when I don’t want to.”

“Lebanon” is a slow ballad with Ondara’s unique singing style (S. and I genuinely didn’t know if Ondara was a man or a woman upon hearing his song “Saying Goodbye” because his voice is so multivaried.  I really like the passion of the lyrics and how it is countered with the slowness of the music.

In the water, fire
I’ll go wherever you go
In the valley, in the canyon
I’ll go wherever you go
Hey, love, I’m ready now
Can’t you see this riot
Inside of my veins
Hey love, I’m overcome
By desire
How must I wait?
Up next is “Days of Insanity” with this fascinating lyric

There is a bear at the airport, waiting on a plane
There is a cow at the funeral, bidding farewell
There is a goat at the terminal, boarding the C-train
There is a horse at the hospital, dancing with the hare
Somebody call the doctor, from the university
Somebody call upon the witch and the wizardry
Somebody call the rabbi, the pastor and the sheikh
Coz we are coming on the days of insanity
The days of insanity.

In talking about this song he says it is such a rich time to be a folk singer in America.  He wrote the song while making the record.  He was watching videos of kittens and puppies as he does every night before bed and the video suggested watching Stephen Colbert with John Mulaney.  Mulaney took a trip to Japan and described things in America as being like seeing a horse loose in a hospital.  It’s like something no one’s ever seen before.  Ondara encourages us to watch the clip and he is right–it is hilarious!

“Saying Goodbye” is the song that’s been getting the airplay.  It’s passionate and powerful and when he sings in the higher register it really is otherworldly.

This live version is quite a revelation.  His delivery is different–much more slow and deliberate.  But he can still hit that glorious high notes..

Amazingly, Tales of America was nominated for a Grammy award for Best Americana Album (not bad for a guy from Kenya).  Sadly it didn’t win.

[READ: June 2, 2018] Cleopatra in Space Book Five

It took Maihack seventeen months to make this book!  He says that sixteen of those months were spent growing the bear on his author picture.

This story is action-packed with some fascinating twists and turns.  Consequently, seventeen months is a long time to go between books.  Fortunately, Maihack’s quality of illustration and storytelling has maintained its high standards.

The book opens with a flashback to the moment when Cleo first disappeared from Gozi while they were having target practice (back in book 1).

The actual story has followed Cleo on her adventures.  But now we see what happened to Gozi.  He was attacked by … someone … and imprisoned.  Gozi believes that whatever happened to Cleo–it was her choice not to return and help him.

I have to admit I was more than a little confused as to just what happened next, [Gozi explains things later on].  IN the montage of events, there’s a spaceship and lots of cats (I suspect that if I had read the other books more recently this would be more clear).  In whatever happened, Gozi is badly burned and the pain never goes away.  He was wrapped in bandages but that didn’t really help at all.  Then we see exactly what happened to make Gozi tun into Octavian and to agree to use the Lion’s plasma to carry out the ruin of the galaxy. (more…)

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SOUNDTRACK: JOYCE DiDONATO-Tiny Desk Concert #932 (January 15, 2020).

I was sure that Joyce DiDonato had performed a Tiny Desk Concert before, but I actually knew her from a gorgeous NPR Field Recording from 2015.

the last time we filmed the down-to-earth diva, she insisted on singing an opera aria at the Stonewall Inn, the iconic gay tavern in Greenwich Village.

DiDonato is an opera singer and her voice is amazing–she can soar and growl and everything in between.  But this Tiny Desk is not what you’d expect.  For although DiDonato sings in her beautiful operatic voice, the music the band is playing is anything but.

When opera star Joyce DiDonato told us she wanted to sing centuries-old Italian love songs at the Tiny Desk we weren’t surprised. But when she said she was bringing a jazz band to back her up, we did a double take. But that’s Joyce, always taking risks.  On paper, the idea of jazzing up old classical songs seems iffy. At the least it could come across as mannered and at worst, an anachronistic muddle. But DiDonato somehow makes it all sound indispensable, with her blend of rigor, wit and a sense of spontaneity.

The first song is by Alessandro Parisotti.  “Se tu m’ami” sets the stage for what this show is going to be like.  Gorgeous jazz with DiDonato’s impressive voice.

The musical formula for these unorthodox arrangements makes room for typical jazz solos while DiDonato molds her phrases to the flexible rhythms and inserts old-school trills and flamboyant roulades.

A cool trumpet solo from Charlie Porter takes a cool trumpet solo while DiDonato admires his skill.

After three minutes they segue seamlessly into Salvator Rosa’s “Star vicino.”  This one features a piano solo from Craig Terry which he begins with a line from “Twinkle Twinkle Little Star.”  The song also features a muted trumpet solo with a few drum breaks for Jason Haaheim

My favorite moment in the set comes just before 6 minutes where she sings a beautiful lilting melody and then hits a growly note that I was sure was the trumpet until Porter played the same note on his muted trumpet.  It was very cool and kind funny.  Especially when she says

there’s no soprano in the world who could get away with that

Less than a minute later she runs through her enormous vocal range from low to very high to soaring.  It’s amazing.

She says that in the classical world, the standard is perfection–rarely achieved.  Young singers try so hard to get it perfect that they lose the “grease” as the jazz players say.  So this project was designed to put the swing back in these old love songs.

The third song she says is by anonymous, but it is credited to Giuseppe Torelli. “Tu lo sai” is a love song that says, “you have no idea how much I love you.  No matter how much you scorn me, I still love you,”  She says they giving this the Chet Baker treatment.  I’m not exactly sure what that means, but there is some wonderful trumpet work in this song.

It has a slow opening with piano and voice.  The other instruments slowly come in and there is a wonderful moment during Porter’s trumpet solo where she picks up the note from him and runs with it.

Bassist Chuck Israels (who has played with everyone from Billie Holiday to the Kronos Quartet) never solos but he keeps the whole enterprise running perfectly.

For the final song Francesco Conti’s “Quella fiamma” they bring out Antoine Plante on the bandoneon.  She says, “Yea we’re going to South America in a minute.”

Porter uses a different kind of mute which creates a unique sound.  Then the bandoneon comes in and the South American flair is complete.  There’s an incredible moment at the end of the song where Joyce just trills away–showcasing so much of what she can do.

As the blurb says, despite how great the band is

the star of the show is the continually amazing DiDonato, whose voice is certainly one of the great wonders of her generation. The flexibility of the instrument, the colors she conjures and her fine-tuned dynamic range are a few of the reasons she’s still at the peak of her powers. She looks and sounds like she’s having the time of her life.

I see that she sings in Princeton pretty often.  Next time she;s in town I will make sure to check her out.

[READ: December 20, 2019] The Raven’s Children

This story was fascinating in the way it started as a very real story, suddenly added magical realism and then turned into an utterly fantastical story.  And yet it all works perfectly well as an allegory of the oppressive regime under Stalin.

Not bad for a book with talking animals.

This book was translated by Ruth Ahmedzai Kemp and she brings this story to life.

Shura is a young boy living in Leningrad.  He lives with his mama and papa as well as his older sister and a little brother.  They live in an apartment building and he and his sister are lucky enough to have a room to themselves.  The amusing set up is that they have to walk through a wardrobe that their father set up to separate the rooms (he removed the back but you can’t tell from the front).  This weird construction actually saves them later in the story.

Shura’s friend is named Valya.  His parents don’t want him hanging out with Valya, but they like to do the same things, so he disobeys.  Today they are putting pennies on a railroad track.  They had been doing this for long enough that they can tell how heavy a train is by the way the resulting items come out.

On this occasion the train that went by seemed to be full of people.  People crammed into each car.  As it sailed past, a piece of paper sailed out.  Valya grabbed it. Neither of the boys could read very well but they could see some numbers on it.  Shura was sure that the paper was important and he desperately wanted it. But he didn’t know how to get it from Valya without making him want it more.

They walked home and by the time they got to Shura’s place, they were physically fighting.  Shura manged to snatch the paper and Valya threw a rock at him.  The rock smashed a window of an older lady’s apartment in their building.  Shura knew he was in trouble for the window.  But it was Valya’s fault.  Of course, he wasn’t supposed to be playing with Valya. (more…)

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SOUNDTRACK: FIONA APPLE-“The Whole of the Moon” (2019).

I’m rather a fan of a good cover song.  I don’t really like when bands play covers live–I’m here for your music not someone else’s–but a studio recording is usually welcome.

It’s especially helpful if it’s an artist I like doing a song I like.  Such as with this one.

I learned about The Waterboys back in college.  I hung out with Irish musicians and they introduced me to Irish bands.  Although we were more Fisherman’s Blues than This is the Sea, I still really enjoyed “The Whole of the Moon.”

Lyrically the song is simple but very clever.  It works through many comparisons about how “I” see things less completely than “you” do.

I was grounded
While you filled the skies
I was dumbfounded by truth
You cut through lies
I saw the rain dirty valley
You saw Brigadoon
I saw the crescent
You saw the whole of the moon

I also always like the part where the line “you came like a comet” is followed by an explosion–satisfyingly over the top.

The occasion of Fiona Apple covering it has to do with the show The Affair which I’d never heard of.  Evidently the season finale opens with The Waterboys’ version and ends with this new Fiona Apple version.  Fiona Apple’s song “Container” is used in the opening credits, so she already has ties to the show.

I can remember “discovering” Fiona Apple through an issue of New Music Monthly about two months before her debut came out.  I really liked “Shadowboxer” and then the whole album.  It was quite a surprise to me when she became a huge star soon thereafter.  And by the time she toured where I lived, the crowd was full of screaming girls.

Nevertheless, I have stuck with her because her music is always terrific.

Her voice has always been kind of raspy and deep–with a quirky range.  But she really pushes herself on this version.  She sounds worn out and it really works for these lyrics.

It stars with gentle synths and a drum pattern.  After the first verse, a full band comes in, with a trippy slide guitar (rather than the 80’s synths of the original).  But it stays pretty simple–this song is about the lyrics.  The middle instrumental section is similarly horn-based, but with a bit of piano and more slide guitar tossed in.

As the song goes on, Apple’s voice gets more and more intense.  The way she sings: “I sighed / but you swooned” will give you chills.

The Waterboys version has a cute musical ending which Apple removes. She also refrains from the comet explosion.

It’s stripped down and really fantastic.

[READ: September 23, 2019] Herbert’s Wormhole Book 3

I accidentally read Book 3 before Book 2.  I am embarrassed that that happened because I am a librarian and I should know better, but I double checked to see which came out first, but I must have read a paperback reprint with a later publishing date and though that book 3 was in fact book 2.

So I read book three and on many occasions I thought “How daring and surprising and hilarious that the Peter Nelson is referencing things that we did not see.”  I assumed that between book 1 and this one, the kids had had many adventures that we didn’t know anything about.  They would just casually refer to them.  This does happen in TV shows all the time, but I guess not in children’s books.  So I should have known better, but I was excited about the prospect of this rather author twist.  I do admit by the end that there were a number of things where I thought…hmmm…. this is referencing something that I think I should know about.  But I was far enough along at that point not to stop.

Turns out, at the end of Book 2 (I found out later), we see that GOR-DON’s plan for destroying the AlienSlayers is not his own.  It is actually  the plan of an evil mastermind.  An evil mastermind who we learn is called Aerostar.

But the real crisis is in the Filby household.  Because Alex’s dad is going to knock down the jungle gym (that they put up for Alex just last year) to make room for a huge playhouse for his bratty little sister, Ellie (“some serious assembly required”).  This will effectively destroy the wormhole!  What will they do now? (more…)

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SOUNDTRACK: DEODATO-Prelude (1973).

I know this artist because of Phish.  For years I thought that they “wrote” the discoey, funky. super cool version of “Also Sprach Zarathustra” which they play at a lot of shows.

I should have realized that the “Deodato” in the credits was the actual arranger of this cool piece, but I guess I never really thought about it.  I’ve no idea where the realization came to me, but once it did I decided  to check out the album from which it comes.

It turns out that Deodato is Eumir Deodato de Almeida (Brazilian Portuguese: [ẽʊ̃ˈmiχ djoˈdatu]; born June 22, 1942) is a Brazilian pianist, composer, arranger, and record producer, primarily in jazz but who has been known for his eclectic melding of genres, such as pop, rock, disco, rhythm and blues, classical, Latin and bossa nova.  Prelude was his first album released in the U.S. (released when he was 31) and eighth overall.  In addition to making over 30 albums, he has also been a producer and arranger on everything from Kool and the Gang’s “Celebration” to Bjork’s albums PostTelegram, and Homogenic

“Also Sprach Zarathustra” begins with twinkling and guitar noises for 30 seconds before the 5-note funky keyboard comes in.  And then about a minute in the horns join to create the familiar Richard Strauss “Also Sprach Zarathustra” crescendo.  Even though that melody is barely a minute long, this version is 9 minutes long with a lengthy funky keyboard solo occasionally punctuated by horns.  It then switches to a more rocking sound with a 70s sounding guitar solo.  It really never loses the funk for the entirety of the piece.

“Spirit Of Summer” is a slow moody song that sounds like it could be the soundtrack to a noir film with slinky horn lines and jazzy bass.  I love the opening and how it then switches to an almost easy listening string section before adding a mellow keyboard solo and a surprising very fast flamenco guitar solo as well.   The song is only four minutes and ends with a flute solo and then a return to the opening horns.

“Carly & Carole” is an easy, mildly funky jazzy number.  There’s lead flute combined with the keys that push the song along.

“Baubles, Bangles, & Beads” is a jaunty five-minute romp that sounds like it would have been very popular at swinging parties in the 1970s.  There’s more flute and keys and two lengthy wild Santana-like guitar solos that run through to the end of the song.

“Prelude To The Afternoon Of A Faun” opens with a mournful flute that sounds a lot like the weird Snoopy interludes when he is the World War I Flying Ace in the old Peanuts cartoons.  The melody is quite nice and is then repeated by several instruments throughout the piece.   After 2 minutes it tuns into a swinging jazzy number with a flute solo and wah wah guitars and a bright trumpet solo.  I see now that this piece was done by Debussy and this is another arrangement.  It is not used in Peanuts although Schulz does reference the song in a strip.

“September 13” ends the disc with an upbeat funky song with groovy bass and keys and wah wah guitars.  There’s a wild mildly distorted guitar solo with fun effects put on it.  It’s a fun way to end an album that is short but really captures a moment in time.

[READ: September 3, 2019] Herbert’s Wormhole Book 2

I accidentally read Book 3 before Book 2.  I am embarrassed that that happened because I am a librarian and I should know better, but I checked on Goodreads and must have read a paperback reprint pub date and though that book 3 was in fact book 2.

Having read book three I basically knew a lot of what happened in book 2.  But primarily this is because in book 3 they make offhanded comments to things they did in book 2.  Incidentally, while I was reading book 3 I thought it was a really fun, bold move on the author’s part to reference adventurers that we hadn’t read about.  That should have dawned on me but I just persisted in believing that the author was being really daring. Oh well.

Knowing what happened didn’t really spoil anything, because the book is silly and funny anyhow.

This book opens with a paneled cartoon recap of book 1.

It’s followed by a hilarious opening sequence in which Alex’s dad has become hooked on video games.  He was trying to bond with Alex over Alex’s love of video games.  But in book 1, Alex’s memory of video games is wiped out.  So now his father is playing them and Alex doesn’t really see the point.  But Alex’s father is now as addicted as Alex was. (more…)

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SOUNDTRACK: A-WA-Tiny Desk Concert #886 (September 3, 2019).

I knew of A-WA and had seen them in a South X Lullaby this year.  But  that song was performed quietly, with just a guitarist.  This session is full band with all kinds of dancey accouterments.

Liron, Tair, and Tagel Haim [left to right] are behind my desk with a full band of keyboards, bass, guitar and drums, singing more forlorn tunes in their unique three-part harmony.  Their songs mix Yemenite and Arabic traditions with splashes of reggae and hip-hop.

These songs also have the lyrics translated at the bottom of the screen.  Since Bob says the songs are sad, I haven’t been reading too much, just enjoying the melodies [I’ll let Bob talk about the song in brackets]

The first song is “Habib Galbi” (“Love of My Heart”), [a heartbreaking song that went viral for A-WA in 2016].

I don’t know much of anything in the languages they are singing, but back in 1988 Israeli singer Ofra Haza released an album that I really liked and one of the great songs was “Galbi.”  So here it is again and it means “mt heart.”

‘Habib Galbi” opens with Middle Eastern melodies played on a synth (by Noam Havkin)–it’s a cool combination of traditional and modern almost futuristic.  It even has some electronic percussion (from Tal Cohen) and some great bass from Nitzan Eisenberg.  I love that there’s an occasional “Woo!” and lots of hand claps.  It is so dancey, how can it be heartbreaking?

 A-WA have recently released a second album, Bayti Fi Rasi (in Yemenite it means My Home is in My Head). The record tells the story of their grandmother traveling from Yemen to Israel.  The final two songs come from that recent album.

The second song “Al Asad” (“The Lion”) has the reggae feel in with the staccato guitar and a cool guitar solo from Yiftach Shachaf.  It “is a metaphorical tale of facing down a lion in your path.”

Once again, their movements and tone belie the story, as they move so almost sensually to the music as they sing (in fairness, it’s hard not to).

The last song “Hana Mash Hu Al Yaman,” (“Here is Not Yemen”) features some amazing rolling of r’s as they sing–I’m thinking it’s the word for “wheat.”  Once again, despite the music, this song

paints the struggles of coming to a new land, learning the language, finding work, a place to live and making it a home.

Although this song starts out more somber, as the song moves on it picks up a more danceable beat with more interesting synthy sounds.

I couldn’t help but be interested in the lyrics for this one with the way they sang “wheat” I had to find out what the rolled r word was.  This led me to see “Land of wheat and barely, grape and olive / fig, pomegranate date and home.”

And then further on:

Where will I stake a home? (You have a tent for now)
Or at least a small shack (along with four other families)
And here I will raise a family (Don’t let them take your daughter)
I’ll find myself a job with an income (either in cleaning or working the earth)
And I will learn the language (Lose the accent)
With time I’ll feel like I belong (Here is not Yemen).

Dang, draw me in with fun music and beautiful voices and then wow me with powerful lyrics.  Well done, A-WA.

[READ: September 3, 2019] Herbert’s Wormhole

We listened to this book on our summer road trip.  When I saw that it was a novel “in cartoons,” I decided to check out the print to see if it was any different as a story.

The cartoons certainly add to it. The drawings are done in a very stylized way (by Rohitash Rao).  The cartoons are indeed very cartoony but that befits a story about squid aliens who wear fake mustaches and toupees.

I’m glad I listened to the audio first because it was fun having the experience of hearing the Australian accents in my head while reading the text.  I’m sure I could have imagined the accents myself, but since Jonathan Davis did such a good job, it was nice having them in place.

The other interesting thing is how much I evidently missed during the listening (if you’re driving you have to pay attention to the world around you as well).  So the book version filled in some details that I clearly missed and a few things made a bit more sense.

The opening is fairly simple: Alex Filby is 11 years old and loves video games.  He is just about to defeat all the aliens in Alien Slayer 2 which is pretty great,.  Except he promised his parents that when he beat the game, he would stop playing video games for the summer and start playing outside.  So when he destroys the final alien, his parents tell him that they have set up a play date with the weird kid next store: Herbert Slewg. (more…)

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