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Archive for the ‘Greed’ Category

SOUNDTRACK: TWEEDY-“High As Hello” (Field Recordings, August 7, 2014).

This Field Recording [Tweedy And Son Take To The Tunnels, Friends In Tow] is another one from the 2014 Newport Folk Festival.  Much like with the Jazz Festival, it was raining during the folk festival.  This means the musicians had to play in a that by now familiar tunnel–away from the elements.

These musicians were NPR favorite Jeff Tweedy and his then new project, Tweedy.  The project features Jeff’s then 18 year-old son Spencer on drums.  Jeff and Spencer are accompanied by Jess Wolfe and Holly Laessig from Lucius (who don’t get to really show off their pipes, but do provide great backing vocals).

With the rain, it was not possible to shuffle drums, so

Spencer Tweedy’s drums are made from found trash and objects lying around the fort, including a cardboard box and some boxes of gum. Still, magic happened.

I can’t help but remark (again) on the wonderful sound equipment.  The band sounds terrific and you can hear all of the guitars (a full band list isn’t given).  Somehow Spencer’s drums don’t sound like cardboard boxes.

This recording is from 4 years ago either before Jeff started wearing the ubiquitous cowboy hat or he didn’t want to wear it in a tunnel.

“High as Hello” is a slow song with great backing vocals and solos from at least one of the three guitars.

[READ: September 18, 2018] “Poor Girl”

This story was translated by Anna Friedrich and is about a woman trapped in a situation she hates.

What’s interesting is that it’s unclear if the title refers to the young mother or her daughter (as they are both poor in different ways).

The opening line is quite surprising:

The wretched mother could easily have lost her sanity watching her husband love their daughter….

What an odd thing to be upset about.  Until…

the way he stroked the child when she was falling asleep or waking up, his blissful expression when they touched, the fact that he bathed her himself, believing it to be his right and his responsibility.

So, the woman, Irina, raises some red flags, although it’s not always clear if she is being reasonable about them. (more…)

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[LISTENED TO: August 2018] Tuck Everlasting

Normally when we go on long car rides we listen to many audio books.  This summer, we drove to Chicago (12 hours each way) and listened to only two!  Two!  And this one was only three discs long.

I actually didn’t know anything about this story when we started it (somehow this classic children’s book written during my childhood totally escaped me).

What’s fascinating about this story is how little there is to it.  This is not a criticism.  It’s a remarkably compact plot.  Although there is an awful lot of description.  And while Peter Thomas did a great job with the action of the story, the descriptions tended to drag on a bit (you could blame Babbitt or Thomas I suppose).

The story focuses on the Tuck family.  Tuck, whose first name is a rarely used but is Angus, is the father.  Mae is his wife.  They have two children, Jesse who is 17 or so and Miles is 22 or so.

There is also Winnie Foster, a ten-year old girl.  Her family is the oldest family in Treegap, New Hampshire. (more…)

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SOUNDTRACK: RHEOSTATICS-Massey Hall, Toronto, ON (April 29, 2016).

After their farewell concert at Massey Hall in 2007, who would have guessed that some nine years later they’d be back again.

When I heard this show was announced I immediately bought a ticket, not really thinking about how I would logistically manage such a thing.  I was able to get it to a fan who could go, but at least I’ll have my email confirmation:

Live at Massey HallRheostatics
Fri 04/29/2016 8:00 PM
Main Floor Centre Front  Seat I-44   $29.50

This time Martin’s voice is working again.  But in the intervening years he has had something else go on with him.  I don’t know details, but there’s some kind of anxiety present–and it comes out during this show.

Amazingly, for such a big show, there is hardly any evidence of it online.  There’s a few fan videos but no full sets available.

The only performance available that I can find is the official release from (the terrific) Live at Massey Hall series.  The whole series is wonderful–professionally filmed and beautifully recorded.  The only problem is that it’s so short.  I don’t know how long the show was, but the video is only 40 minutes.

The video opens with Martin talking about his laryngitis, “laryngitis taught me to enjoy singing in a lower range.”  There’s Tim talking about seeing Devo (who were walking on treadmills the whole show) at Massey Hall and overheating from wearing a heavy coat in winter.  Dave saw lot so new wave bands who weren’t great live but were great because they were in Massey hall–it’s a forgiving and inspiring place.

Big red letters in the back of the stage spelled out RHEOSTATISC (sic).

The set opens with “King of the Past” Martin plays a lovely solo and gets some applause and the whole thing sounds great.

“Californian Dreamline” opens with some great sound effects from Martin, Hugh Marsh and Kevin Hearn.  But after the “sensamilla” bit, Martin freaks out.  He steps away from the mic and waves everyone off.

Dave jumps in, “this happened in Montreal once. It’s true.  We were opening for Moxy Fruvous, so it’s a kind of curse we’ve got to exorcise.”

The band jams on and them Martin comes back to sing and the crowd gives him a big cheer–there really is no more forgiving crowd than a Rheostatics crowd.

The opening acoustic guitar of “Claire” begins.  That’s Tim on acoustic, Dave on bass and Martin on his gorgeous double neck guitar.  The letters have been rearranged to say SORTA ITCHES and Martin plays a great solo.  Tim sounds perfect, of course.

They start “P.I.N.”  Martin sings the first line and then has an issue.  He steps away again while the band plays on. He catches himself and returns (again to encouraging applause).  Once it gets going it all sounds great.

Dave finally gets a lead vocal song.  The letters spell out SHITCOASTER as they play a flawless “Mumbletypeg.”

Then apparently the entire rest of the show happens and we get the night-ending encore–a wild and raucous “Dope Fiends and Boozehounds.” (The letters finally spell RHEOSTATICS). The song gets off to a pretty good start.  For the middle, Martin and Hugh face each other (Martin always seems comforted by being with Hugh) and then Don Kerr gets a drum solo (with sound effects from Kevin Hearn).

At the end of the song, for the “moon,” there are howls, probably from Kevin, possibly from the audience.  As they slowly fade away, Dave jumps of the drum rise and the end of the song begins.  But this is an extended jam ending.  Hugh and Kevin make some menacing sounds and then Martin plays a solo with a slide.  It’s a weird, very undramatic ending for such a dramatic band.

I have always been sad that I couldn’t go to this show, but it sounds like it would have been a real roller coaster of a night.

Read this review from Radio Free Canuckistan for the perspective of someone who was there.

Over the closing credits, Kevin Hearn’s father read “The Laughing Heart” by Charles Bukowski.  I assume he read that before the band came out (accompanied by Hugh Marsh).

I don’t know much by Bukowski, but this is great for its simple profundity.

The Laughing Heart

your life is your life
don’t let it be clubbed into dank submission.
be on the watch.
there are ways out.
there is light somewhere.
it may not be much light but
it beats the darkness.
be on the watch.
the gods will offer you chances.
know them.
take them.
you can’t beat death but
you can beat death in life, sometimes.
and the more often you learn to do it,
the more light there will be.
your life is your life.
know it while you have it.
you are marvelous
the gods wait to delight
in you.

[READ: March 5, 2018] Head Games

As with some of my favorite books, the story behind the creation is almost as interesting as the book itself.

Craig McDonald is a journalist and he says that he is often frustrated by trying to write the truth: “read five biographies about the same person and you’ll feel like you’ve read about five different people.”  With fiction maybe you can find something bordering truth.

The introduction by McDonald tells us that we will be riding with pulp novelist Hector Lassiter.  Lassiter is the protagonist of a finite arc of ten novels. The last one, Three Chords & The Truth is a sequel to Head Games and appeared in 2016.  Lassiter is a charmer, a rogue, a rake and a crime novelist who lives what he writes and writes what he lives.  Hector was born in Texas in 1/1/1900 and the arc of the novels spans the 20th century.

McDonald says the publishing history of the books is not chronological. Head Games was the first novel published.  The second was set in 1935 and features Hemingway prominently.  Other books hopscotched through the decade. They have recently been reissued and presented in roughly chronological order.

The novels “follow secret histories and underexplored aspects of real events.”  They’re set in real places and use history and real people to drive the plots. (more…)

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SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2014 Tour Box (2014).

When King Crimson reunited in 2013, they prepared to tour as a seven piece behemoth the following year.  There would be three drummers, two guitarists, bass and horns.

And they were totally reinvigorated.

To celebrate this tour, Fripp and his minions created this Elements Tour Box, a 2 -disc set dedicated to displaying the elements that made up the band from the beginning until now.  It was made up of alternate takes, excerpt (lots of excerpts), live recordings and rehearsals from the entirety of the Crimson canon, including some of the 2014 shows.

It is a treasure trove for Crimson fanatics.  But it is also an excellent resource for anyone looking to explore the Crimson underworld without buying $150 boxsets.

The discs follow a vaguely chronological overview, starting in 1969 and moving on through 2008.  But there are 2014 takes of old songs thrown in as well–some sound better than others, but overall the quality is quite good.

The first disc covers 1969-1974.  It opens with
“Wind Extract,” which is the sound of Fripp’s mellotron being turned on back in 1969.
“I Talk To The Wind” is an instrumental version of the second song on ITCOTCK.  Purists will be able to tell how many things are different between this version and the actually-released product, but in a nutshell, this is the album version with no vocals.  It’s really interesting to focus just on the music and not the words for a change.  The song is quite pretty, with lots of flute.

“Cadence and Cascade” is from In the Wake of Poseidon and no one involved in the recording remembered Greg Lake singing a version of it.  Guest vocalist Gordon Haskell sang the album version.  Then someone recently found this “guide vocal” version of Lake singing it for apparently the first and only time.

The boxes often contain brief excerpts like this one–fifteen seconds of Fripp’s classical sounding guitars from “Cirkus.”  This is kind of an acoustic bridge before we hear the full song recorded in 1971 on the Lizard tour.  This song in particular sounds very dated live and the middle “circus sounds” sections are 70s crazy.
“Hoodoo (extract)” is a 2014 rehearsal that’s all of 20 seconds which segues into a raucous recording of Fripp playing a wild guitar solo for “Sailor’s Tale.”  It’s wild and really shows Fripp throwing everything he can at the song.
“The Talking Drum” is an early alternate mix which sounds great to me.  It gets really crazy by the end.

The “Lark’s Tongues in Aspect I” excerpt is from 2014 and is just Mel’s flute for 2 minutes.  It’s followed by a 1972 extract that’s just violin and dulcimer and harp.

This turns into a great new mix of the 11 minute “Fracture.”
After a minute of gorgeous harmonics by Fripp from “Fallen Angel,” we get a full, gorgeous 6-minute instrumental version of the song.  Because Crimson songs are so complicated and so carefully constructed, they are one of the few bands whose songs can have lyrics removed without them falling flat.
There’s a weird-sounding version of “21st Century Schizoid Man” from 1974, which sounds so very mid-70s in the recording style.  It seems somewhat slapdash compared to the utter tightness of the 2014 band.  The disc ends with Mark Charig’s cornet recording for the end of “Starless.”  On the proper release they use Mel Collin’s saxophone, but the cornet sounds delightful.

Disc two covers 1981-2008.

  This is pretty much the Adrian Belew era.  Belew was not invited back for the new incarnation, so that’s a little awkward.

It begins with an alternate take of the instrumental “Discipline.”  After a 45 second drum intermission, there’s a track called “Manhattan (Neurotica)” which is an instrumental version of “Neurotica.”  I love that the opening guitar sounds like sirens and car horns.
A minute and a half of the middle of “Neal and Jack and Me” is followed by the Steven Wilson mix of “Sleepless (Bearsville)” with an incredibly 80’s sounding slap bass from Tony Levin.

Then there’s a recording session of “Sex, Sleep, Eat, Drink, Dream.”  We hear lots of stops and starts, bass only, guitar parts and someone repeating “this is tough, tough shit.”
There’s a live version of “THRAK” followed by a minute of Fripp soloing around “Larks Tongue” called “Venturing Into Joy.”

This is followed by two tracks from Fripp’s side ProjeKcts,  “The Deception of the Thrush” is performed live by ProjeKct Four in 1998 with big thumping almost splatting-sounding drums.  Then there’s a trippy and ambient early version of “Heaven & Earth” by ProjeKct X.

After a scorching “Level Five” from 2008, there’s a minute long drum solo which would ultimately morph more fully into “The Hell-Hounds of Krim” and then two tracks from A Scarcity of Miracles.  “Separation” is an edited version of the bonus track (the disc label calls it something else).  And there’s an alternate take of “A Scarcity Of Miracles”–still long and a little too jazz-lite for me.

This is a really solid collection of all eras and styles of Crimson.  And it also showcases the various parts coming together.  A great production all along.

[READ: January 19, 2018] Monsters of the Ivy League

This book collects a series of Ivy League graduates and puts them in context with a they have a lot of support for all of their declarations.  Each entry gives a brief (biased) biography that highlights their flaws, outrages and downright unforgivable behavior.

So, rather than rewrite summaries of these assholes, I’ll present a grid with the shortcut (and some choice tidbits).  You can find the book and read the details for why our Ivy leagues have bred so many shitheads, including current miscreants:

Samuel Alito, Ben Carson, Ann Coulter, Ted Cruz, Laura Ingraham, Henry Kissinger, Dr. Oz, trump, and many more.

The introduction says that the term Ivy League refers to a bunch of football teams. (That’s why it says “league”).  The League was formed in 1954 to formalize the sporting relationship between eight teams: Brown, Columbia, Cornell, Dartmouth, Harvard, Univ of Penn, Princeton and Yale.

Of course, no one goes to these schools for sports, they go to find the best future contacts for your budding careers.

But read this book and remember:

An ivy education doesn’t force you to become a hideous person, but it doesn’t necessarily prevent it, either.

What follows is a smart-shopper warning to those applying, a count-your-blessings consolation to those who have been rejected and a watch-your-back caution to those already attending.

(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: AHI-Tiny Desk Concert #693 (January 16, 2018).

AHI is apparently, inexplicably pronounced “eye.”  He is an Ontario-based singer.  There’s nothing strikingly original about his sound, but his songs are pretty and thoughtful and his voice has a pleasing rough edge.

Bob says,

AHI’s gruff but sweet voice and openly honest words were my gateway to this young Ontario-based singer. AHI says he sings Sam Cooke’s “A Change Is Gonna Come,” at the end of every set with a sense of hope. It was powerfully moving, without a note that felt clichéd or overly nostalgic. At that moment, I knew he needed to play a Tiny Desk Concert.

With a tasteful band comprised of Frank Carter Rische on electric guitar, Robbie Crowell on bass guitar and Shawn Killaly (a man of a million faces) on drums, AHI put his heart into three songs in just about 11 minutes, all from his debut album We Made It Through The Wreckage, which came out a year ago this week.

“Alive Again” builds slowly, but by the time the chorus comes around and he adds some whoops, the song really moves. I’m quite intrigued at the constant soloing from guitarist Frank Carter Rische.  It’s virtually nonstop and really seems to propel the song along.  It’s a catchy and fun song the way each round seems to make the song bigger and bigger.

About “Closer (From a Distance)” he says, we all have relationships.  Some are good; some are bad and some are just awful.  You may care about someone with your whole heart only to realize that you care about that person more than they care about themselves.  No matter how strong you are your strengths may not be as strong as their weaknesses.  Sometimes the only way to save the relationship is to walk away–“maybe we’ll be closer from a distance.”   This is a really heartbreaking song.  The lyrics are clearly very personal and quite powerful.  And the soloing throughout the song is really quiet and beautiful.

“Ol’ Sweet Day” is bouncy and catchy with a propulsive acoustic guitar and lovely licks on the lead acoustic guitar.  The drums are fun on this song as Killaly plays the wall and uses his elbow to change the sound of the drum at the end of the song.

The burning question that is never addressed is way he is wearing a helmet –motorcycle? horse riding?  It stays on the whole time.  At one point he even seems to “tip” his hat.  How peculiar.

[READ: December 8, 2017] Glorious and or Free

The Beaverton is a satirical news source based in Canada.  It began as a website in 2010 and then added a TV Show in 2016 (now in its second season).  To celebrate 2017, the creators made this book.

They have divided the history of Canada into 13 sections.  As with many satirical history books, you can learn a lot about a country or a time from the kinds of jokes made.  Obviously the joke of each article is fake, but they are all based in something.  Historical figures are accurate and their stereotypes and broadsides certainly give a picture of the person.

Some of the humor is dependent upon knowing at least a little about the topic, but some of the other articles are just broadly funny whether you know anything about it or not.

When we made this book our goal was to transport readers back to grade school to remember what they were taught n Canadian history class.  And so what if your teacher was hungover most of the time?

~30,000 Years of History in About Four Page (3,200,000,000 BCE – 1496)

“What the hell is that?”  –God after forgetting he made beavers. (more…)

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SOUNDTRACK: DANIIL TRIONOV-Tiny Desk Concert #691 (January 12, 2018).

It has been quite a while since there had been a classical pianist on Tiny Desk.  And man, what a return.  Trionov is just stunning and he makes some of the more complex piano pieces in musical history seem easy.

NPR’s Tom Huizenga has written a splendid blurb which I’m putting here because he covers far more than I could:

When we invited Russian pianist Daniil Trifonov to play a Tiny Desk concert, we rolled out the big guns. In place of the trusty upright, we wedged a 7-foot grand piano behind Bob Boilen’s desk in preparation for the artist who The Times of London called “without question the most astounding pianist of our age.”

That’s a pretty lofty claim, but watch and judge for yourself. His performance here is extraordinary. Still in his 20s, Trifonov seems to have it all: jaw-dropping technique and interpretive skills beyond his age. He’s also a composer — the night before his NPR visit, he played his own knuckle-twisting piano concerto at the Kennedy Center here in Washington, D.C.

But for his Tiny Desk show, Trifonov focused on Chopin, beginning with the mercurial “Fantaisie-Impromptu” in C-sharp minor, a work that mixes sweeping melody, turbulent passion and wistful repose. Hunching close over the keyboard with feline agility, Trifonov’s slender fingers glide effortlessly. He coaxes the instrument to sing tenderly in the slow central section.

Trifonov follows with a pair of short tributes to Chopin by his peers. Robert Schumann’s “Chopin” accentuates the lyrical side of Chopin, filtered through the German composer’s forward-looking harmonies, while Edvard Grieg’s “Hommage à Chopin” offers volatility, lovingly rendered.

The smartly programmed set is capped with more Chopin, but with a nod to Mozart: the finale from a set of variations based on an aria from Don Giovanni. It gives Trifonov a chance to display his lightness of touch, plus a few pianistic fireworks. Smiling, he treats the tricky filigreed runs and hand crossings as if it were a child’s game. Look closely and you can see the piano shake.

So Trifonov plays four pieces.  The middle two are quite short.

Chopin: “Fantaisie-Impromptu, Op. 66”  This is one of my favorite pieces.  The fast part is jaw-dropping and the slow part is achingly beautiful.  His fingers flow over the keys like he was simply petting a cat.

Schumann: “Chopin. Agitato” (from Carnaval)  Trifonov says Schumann wrote a tribute to Chopin called “Chopin,” which was a portrait of the man.   This is a quiet, delicate piece and it is so much fun to watch his hands float seemingly weightless above the keys.

Grieg: “Hommage à Chopin, Op. 73, No. 5”  This tribute focuses on the more stormy and turbulent aspects of Chopin’s faster work.  It slowly builds in intensity with very fast finger work.

Chopin: “Variations on Là ci darem la mano‘ (from Mozart’s Don Giovanni) – Coda. Alla Polacca”  Chopin wrote a variation of Mozart’s Don Giovanni.  This is the finale. There are some amazingly intense runs up and down the keys in this piece as well. And again a lot more bouncing around with his left hand to high notes.

This was a tremendous Tiny Desk Concert.

[READ: December 13, 2017] Crafty Cat and the Great Butterfly Battle

I really enjoyed this third Crafty Cat book.  Anya continues to be an unreasonable character (and I want someone to stand up to her!), but her awfulness allows for some good humor and good setups in this book.

The book opens with Crafty Cat saving an ant after dusting it with glitter (the ant now feels pretty special).  But then it’s soon time for Birdie to get to school.  She tells us that they are picking roles for the class play about butterflies.  Everyone is supposed to pick a bug they want to be:  “Be creative in your choices, we don’t need ten ladybugs.”  Birdie confesses that she is going to be the butterfly she has even crafted a small model of the wings that she can make.

Then Evan shows up.  He rescues a glittery ant from the sidewalk (that was amusing)  and then reveals that he is going to be an ant for the play.  When Birdie says she’s going to be the butterfly, Evan has reservations.  When they enter the school we see 10 students all wanting to be the butterfly–especially Anya.  And image HER surprise when other kids want to be the butterfly–which is her role, after all. (more…)

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