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Archive for the ‘Marriage (Happy)’ Category

SOUNDTRACK: PARTNER-Tiny Desk Concert #744 (May 18, 2018).

I know of Partner from the All Songs Considered podcast.  Their song “Everybody Knows” (about being high) is pop-punk catchy and really funny.

That’s the only song I knew from them, but I assumed this Tiny Desk would be of a rollicking hilarious similar vein.

Imagine my surprise to hear them do pretty much everything but pop-punk.  There’s a theme song, a country song, a song for Céline Dion and a song that makes the lead singer cry:

This is one of the sweetest, funniest and most endearing Tiny Desk performances I’ve seen. From the moment they began playing, it was clear best friends Lucy Niles and Josée Caron, who perform as the Canadian rock band Partner, were there to leave their mark and have a whole lot of fun doing it.

Known for their sense of humor, joyful spirit and screaming riff rock, Partner opened their Tiny Desk not with their guitars plugged in, but with kazoos and a goofy little piano piece they dubbed the “Tiny Desk Theme.” Dressed like she was in an ugly sweater contest, Caron bounced along behind the keys with a beaming smile while the group (including drummer Brendan Allison, Kevin Brasier on keys and Daniel Legere on guitar) sang, “It’s the best Tiny Desk!”

The theme song is but a minute long and will hopefully be used for every future Tiny Desk endeavor.  It comes complete with bopping piano, kazoo and cowbell.

The impish left turns didn’t stop there. Immediately following the makeshift theme, Caron peeled off her sweater (revealing a Tegan and Sara T-shirt) and grabbed an acoustic guitar as the band broke into “Tell You Off” its first-ever country song, a track they’d premiered at a live show just days earlier.

Lucy Niles picks up the bass and plays a simple riff.  The rest of the band joins in (with Legere playing a very country guitar solo).

They could barely contain their laughter while singing “Tell You Off,” a boom-chicka story song about giving a good tongue-lashing to anyone who gets in your way:

“I heard what you said about my dog / that he shit on your lawn / well that’s not my fault / say it to my face or I’ll be pissed off / I’ll come over to your house and tell you off.

The third song is the one that Caron hope Céline Dion will sing.  She says it was inspired by a poem that her boss wrote.  “It’s a bad ass poem about going to down to hell to face your greatest fears and to reclaim a peaceful life for yourself.  The life that you deserve.”

In addition to playing a great rocking solo, Caron sings the final verse in French (for Céline to sample).

Partner closed out its set with a surprisingly emotional version of “Creature In The Sun,” a reflection on appreciating the gift of just being alive.

Caron plays a cool intro riff with a guitar slide.  And the song is the most rocking of the bunch.  And then

About halfway through the song, Caron took a moment to tell the audience why it was so special to them. Choking back tears, she said she wrote it about freeing the mind of desire. “It’s a very healing place… And you can just experience the fullness of life. I just wanted to… remind everyone that that stuff is right there with you all the time.”

It’s surprisingly emotional and Caron is clearly embarrassed at her emotional outpouring, but the audience is receptive and she still manages to play that great slide guitar apart tat the end.

And, to break some of the emotional tension the drummer hits a nice cowbell sound at the end.

This is a very surprising set, and one that I imagine is unique in their live performances.

[READ: May 21, 2018] “The Long Black Line”

This is the story of Jesuit Priesthood, circa 1954, and a man trying to join.

Finn is described this way: “priests were still thought to be holy, and Finn…Well…”

When Finn is close to completing his term of study one of the Brothers, Brother Reilly who is manuductor (he who leads by the hand) seems to think poorly of Finn.  Reilly wrote in his diary that Finn seemed self-important.  And then Brother Reilly went to confess these thoughts.  Brother Reilly’s superiors felt that Reilly was not suited to the role of manuductor and therefore it was useful for him to be given the task.

Father Superior told them: “feelings are always to be distrusted.  The good Jesuit may feel excited or depressed, but–remember–he never shows it.  He is never singular. He disappears into the long black line [of priests]….  If you feel sad, smile.  If you feel elated, exercise self-restraint.  If you dislike someone, pray for him.” (more…)

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SOUNDTRACK: RHYE-Tiny Desk Concert #727 (April 9, 2018).

Rhye is one of those bands that the guys on All Songs Considered just love.  But I find that his songs are completely insubstantial from his delicate falsetto to the restrained music.  It just puts me to sleep.

As such:

It seemed only fitting that when Rhye performed the band’s Tiny Desk Concert that it be at night, illuminated by flickering light. The music Mike Milosh sings and writes conjures the evening and a swaying, romantic vibe.

It was five years ago nearly to the day that we filmed Rhye by candlelight in New York City as the band toured for its enigmatic album Woman. Mike Milosh requested that Rhye’s members be filmed “only in silhouette, with the lights dimmed low” at Le Poisson Rouge show.

This time around the hundred or so flickering lights set the tone for the sextet of strings, keyboard, guitar, bass and drums to perform music from 2018’s Blood. The sound is warm and velvety, all the instruments gently pulsing, as Mike Milosh softly sings with that high-pitched yearn.

Tiny Desk Concerts are often awkward by nature — bands playing in the middle of an office in the daytime for musicians used to playing in the evening, with stage lighting. But there was a special transformation that took place at this Tiny Desk the moment the music kicked in. I’m a sucker for a vibe in music — that feeling when a sound completely shifts the mood of a room. This vibe was more like a house show than an office, which put me in a pensive, pleasant place. Sit back and enjoy.

“Please” is just so soft that it seems to float away.  The only cool parts are the guitar and bass lines.

“Taste” I like the instrumentation of this song, especially the violin and bowed upright cello.  And when the guitar solo comes out its like the loudest thing you’ve ever heard (in comparison). But when you think the song is over it’s still got about 5 more minutes of blandness to go.

“Song For You” is seven minutes of slow moodiness.  I like the trombone solo.  And the end is very pretty.   In fact, most of the songs are pretty if they were either shorter or if those songs were actually just the ending of a song.  Otherwise it’s all kind of samey.

[READ: January 5, 2018] Protect Yourself

This short book looks at the brief history of venereal disease posters that were created during WWII.  It was edited by Ryan Mungia with an essay by Jim Heimann.

The essay has the great title “VD posters: propaganda to the penis” is short.  Mostly this is just a collection of posters.

The premise is that commanders have had to fight venereal disease and the enemy simultaneously.  During WWI, 18,000 American military personnel were incapacitated with sexually transmitted diseases each day!  By WWII it was reduced to about 600 per day.

Protection certainly helped and graphic posters were there to spread the word. (more…)

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SOUNDTRACK: CORNELIUS-Tiny Desk Concert #718 (March 19, 2018).

I was familiar with an artist known as Cornelius, but I guess I didn’t really know anything about him, because this blurb came as a total surprise:

As Cornelius, Keigo Oyamada has stretched his vision across frenzied indie rock, lush ’60s-style pop, psychedelic funk and glitched electronics, all deconstructed and reassembled like a neon cubist-pop sculpture. After a little more than two decades, no one can really imitate his complex cool.

Sporting a pair of sunglasses (always), Oyamada recently brought his band from Japan to the Tiny Desk on a rare U.S. tour, including his longtime collaborator and Pizzicato Five session musician Hiroshisa Horie, drummer Yuko Araki (Mi-Gu, Cibo Mato’s live band) and synthesist Yumiko Matsumura (Buffalo Daughter). They’re all musicians who tease and poke at music’s fringe territory, but still know how to make a song buzz and pop with gleeful curiosity.

So I guess I know Cornelius from Pizzicato Five.  But I was not prepared for the trippy synthy music that this band created.

Cornelius performs three very different songs from last year’s Mellow Waves. There’s the robotic groove of “Helix/Spiral,” which repeats and mutates the same phrase and melodic fragments in a delicate and strange dance.

“Helix/Spiral” is all synth with his vocals auto-tuned into robotic sounds.  The lyrics are mostly him speaking those two words over and over (which I thought was saying Alex Spy-lo, but that is clearly me not understanding his accent.  The synths are great.  One is doing cool trippy backing sounds while the main riff is a disjointed melody that begins confusing and ends as an earworm.

“In a Dream” is a star-swept landscape that invites the subconscious to search for meaning, its keyboard flourishes and light acoustic strums so breezy you could almost call it a kind of retro-futuristic yacht rock.

I love the full synth sound (and swirling bass of “In a Dream”).  I believe he is singing in Japanese.  The chorus of the song is so incredibly catchy in an almost light folk sort of way.

But set closer “If You’re Here” is the real marvel to behold live, as the band performs at different tempos, gradually solving a polyrhythmic puzzle of a slow jam. The song also features one of my favorite guitar solos in recent memory — it’s unflashy, but twists, spits and resolves in the most unexpected ways.

“If You’re Here” is a longer song–nearly 7 minutes–with a kind of slow building feel.  Those electric guitar solos from Cornelius himself are very cool indeed.  There’s a lengthy instrumental coda at the end which is very trippy and cool.

I really enjoyed this set and every new listen brought in something new.

[READ: January 9, 2018] “The Send-Off”

This is an excerpt from a novel called Inhumaines which has just come out in English (translated by Camille Bromley).

The previous piece that I read from Claudel was pretty surreal.  This one is as well.

It begins

Last night, Roger Turpon, from dispatching, invited us to his suicide.  There were twenty of us.  Family and friends only.

Turpon has been talking about killing himself for a while now, but boy “A suicidal person is tiresome.”

Finally Dupond helped him out by calling him a coward, saying he won’t do it.  They stood in the parking lot in mid-autumn with leaves blowing all around them.  “It was lovely.”

Three days later they received the invitation: Mr and Mrs Turpon are delighted to invite you to Roger’s suicide this Saturday. (more…)

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SOUNDTRACK: RED BARAAT-Bhangra Pirates (2017).

Although Red Baraat’s first two albums were good, this one leaps beyond the other two.  Perhaps its the addition of the guitar–bringing a(nother) new element to their sound.  Or perhaps it’s that the whole thing just sounds so much bigger.  Half of the songs were recorded live at KEXP which might explain the fresh (and live) sound.

And as one review puts it

Clearer production makes it easier for each of Red Baraat’s chosen musical styles to stand out as they blend together. Jazz, funk, and rock and roll all play important parts on Bhangra Pirates, and it’s clear early on the album, even to newcomers, that Red Baraat is less about sticking to a genre than to doing what makes the whole band – and the whole audience — have a genuinely great time.

It’s here in their discography that I get a little confused.  Before this album, they put out an album called Gaadi of Truth which features about half of the same songs as this one.  There’s also something called Big Talk which seems to be a remix album of sorts.  Talk  is available from their bandcamp site but Gaadi is not (although it did get full on reviews when it came out).

There’s a tremendous riff that opens “Horizon Line” and the moody guitar drones really balance it out nicely.  Plus the dhol and the rest of the percussion sounds really clear–much more obvious than on the past two records.

“Zindabad” opens with a Middle Eastern guitar riff .  After a horn fueled intro the main riff kicks in.  And then the vocals come in.  No idea what they’re singing about and that’s all the better–it’s fun to chant along.  The riff after the first verse is another great brassy one.

There’s some big guitars that open “Banghra Pirates,” and once the song starts the vocals come in.  There’s lots of get your body moving sentiment and then some other words which who knows what they are, but rhythmically they’re great.   The middle has a great heavy almost metal chugging of chords for a nice slow down before the party starts again.

“Tunak Tunak Tun” is a song they recorded on their debut album.  It’s even better here.  It’s a cover of a song made popular worldwide by Daler Mehndi (and how much fun is the original).  “Rang Barse” opens with what sounds like a sitar although it’s not listed in the instruments.  “Bhangale” features guitars from  Delicate Steve.  There’s some great chanting up front that sounds like “Bhangale ooch oolay wah wah wah.”

“Gaadi of Truth” opens with a big guitar and some very cool effects (particularity on the sousaphone which has a cool underwater sound).  The middle has some interjections: “horn please” bwaaaaaaaah  “horn please” bwaaaaaaah.  There’s a pretty wild and noisy guitar solo too.

“Se Hace Camino” adds Spanish/Latin music to their reprtoire.  The song is sung in Spanish and English: “we make the road by walking.”  “Akhiyan Udeek Diyan”  goes through many different sounds and styles over its 6 minutes, ultimately with a fast rollicking pace before ending.

“Layers” ends the dis with an upbeat almost poppy instrumental.  It’s sweet with a kind of call and answer from the horns.  It’s a delightful ending to a party disc.

The lineup is largely the same, although they’ve added the guitarist and have changed a few members:

Sunny Jain – dhol & effects/vocals; Rohin Khemani – percussion; Sonny Singh – trumpet/vocals; Ernest Stuart – trombone; Jonathan Goldberger – guitar (all tracks except 5,10); Delicate Steve – guitar (track 5); MiWi La Lupa – bass trumpet/vocals (tracks 3,5,6,8-10); Chris Eddleton – drumset (tracks 1,2,4,7); Tomas Fujiwara – drumset (tracks 3,5,6,8-10); John Altieri – sousaphone & effects (tracks 3,5,6,8-10); Jon Lampley – sousaphone & effects (tracks 1,2,4,7); Jonathon Haffner – soprano saxophone (tracks 1,2,4,7) / alto saxophone (tracks 3,5,6,8-10); Mike Bomwell – soprano saxophone (tracks 3,5,6,8-10) / baritone saxophone (tracks 3,10);  not on this recording: Arun Luthra – soprano sax ;   Smoota – trombone.

[READ: March 6, 2018] “The Poltroon Husband”

I tend to like Joseph O’Neill stories–there’s usually something in the style and the structure that is pretty enjoyable.

And that was true for this one.  I wasn’t blown away, but I really enjoyed it and there were some parts that I enjoyed a lot.

A man and his wife move from Phoenix to Flagstaff.  They build a house there from shipping containers (I love that details and I’d love to see what it looks like). He tells his wife that it is going to be their “final abode.”  Jayne doesn’t like this designation.  But he defended the merits of the phrase with “an argument from reality.” Jayne said he was using “an argument from being really annoying.”

He says that abode means a residence, of course, but it comes from an Old English verb which means To wait.  Abide comes from the same root.

One night they are in bed and Jayne hears a noise.  They listen, hear a few more noises and what sounds like a cough  However, “although the house has two stories and numerous dedicates zones…only the bathrooms are rooms.  Otherwise the house comprises a single acoustical unit.  Often a noise made in one zone will sound as if it emanated from another.” (more…)

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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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[ATTENDED: January 25, 2018] Tennis

I had only ever heard of Tennis once or twice in passing on NPR.  I noted them as a poppy, synthy band whose songs were catchy.

I wasn’t sure how much I would like their main set, and I was prepared to head home early if I didn’t enjoy it. But Tennis proved to be delightfully sweet and a perfect match for Overcoats (they clearly mutually respect each other).

Tennis are the creation of Alaina Moore and Patrick Riley.  They play sweet synthy pop songs. Because of the way they were dressed I think I heard a lot more disco overtone than was actually there.  There’s an 80s synth pop sound throughout their songs, but I think the heavy basslines brought a real disco swagger.  And the guitar was always interesting.

And their drumset lit up as well! (Check out how they put their logo on the drum head).  I really liked their merch, I thought it was very simple but very cool. (more…)

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SOUNDTRACK: ART OF TIME ENSEMBLE-Sgt. Pepper’s Lonely Hearts Club Band (2012)

The Art of Time Ensemble does many things although my exposure to them is through their string performances of rock songs

Led by Artistic Director Andrew Burashko, Art of Time Ensemble transforms the way you experience music. Fusing high art and popular culture in concerts that juxtapose the best of each genre, Art of Time entertains as it enlightens, revealing the universal qualities that lie at the heart of all great music.

Sarah and I saw a live show of this tour.  And this recording is pretty much the same (I’m sure there’s some variations).  It is more than just a symphonic version of the record.  The Art of Time Ensemble created new arrangements of the songs.  Purists might hate this, but it is lovingly created and made with a few extra orchestral moments thrown in.

This disc was recorded live in concert May 31, June 1 & 2, 2012 at the Enwave Theatre in Toronto

The disc opens, of course with “Sgt. Pepper’s Lonely Hearts Club Band.”  Steven Page sings the song with rocking guitars and horns.  There’s cool a capella moment with them all singing the “it’s wonderful to be here” moment.  Before allowing the next song to start the band does the slow orchestra rise of notes at the end of the album.  Clearly showing that while hey are staying somewhat faithful to the record, there will be surprises.

“With A Little Help From My Friends” has gentle swirling orchestral notes as John Mann (from Spirit of the West) sings.  This song seems to be all about the orchestra as they take many liberties with the melodies and soloing moments.

“Lucy In The Sky With Diamonds” Craig Northey sings this classic which is quite understated, especially in the chorus, when he sings falsetto and there;s minimal accompaniment.  However, those three thumps before the chorus are as loud as anything.

Andy Maize’s gruff, weathered voice sounds great for “Getting Better.”  But it’s Page’s harmonies in the chorus that make this song transcendent.  “Fixing A Hole: is the first song that really changes the original.  It has a kind of Kurt Weill cabaret/circus vibe with John Mann hitting some challenging notes.  But the music is so sinister, it’s quite interesting.

“She’s Leaving Home” is achingly, beautifully sung by Steven Page.  The backing vocals are perfect, too.
“Being For The Benefit Of Mr. Kite!” has a few strange moments in which the bulk of the music cuts out for pizzicato strings or when the middle section features an extended waltz for Mrs K to dance.  Craig Northey sounds like he’s singing through a megaphone but that seems unlikely.  By the end, Northey also seems to be talking Mr. Kite down from his foolish behavior (“Oh, he;s falling”).

“Within You Without You” is the other song that Andy Maize takes lead on.  On the original, the song is done in Indian classical style.  This version has strings filling in with repeated melodies.  Indian hand drums are used at the end and while I’m not certain, I think there was no sitar used, but the melodies on violin and voila do a great job of representing that sound.

“When I’m Sixty-Four” is very string-heavy and takes a bit before it gets the bouncey feel of the original.  John Mann does a nice job with the song and the backing singers do a great job too.  I’m only bummed that there’s no musical punctuation on Vera Chuck and Dave.

A long piano intro opens “Lovely Rita” before Steven Page takes lead vocals–a song well suited to him.  The big surprise comes in the middle when there’s a lenghthy big band dance section including a muted trumpet and a real nor jazz feel.  After the nifty trumpet solo there’s a clap along for the ending chorus.

The members all greet each other “Good Morning” before “Good Morning Good Morning” starts up, sung by Craig Northey.  It’s one of the more rocking songs.  At least until the swirling heavy guitars that open “Sgt. Pepper’s Lonely Hearts Club Band (Reprise).”  There is a chorus of vocals singing with vamping from Steven Page.

The disc ends with “A Day in the Life” with Andy Maize on the first section (squeaking out that House of Lords line) and Craig Northey taking the faster part.  Since the orchestra already did the end of the album much earlier the end of the concert is quiet, much more subtle.

The album is over but there are two bonus Beatles songs.  “Penny Lane” sung by Steven Page might be noticeable for the trumpet getting the solo perfect.

The whole show ends with “All You Need is Love” with everyone getting a verse.  There are a number of Beatles’ lines thrown in during the outro, like Page singing “I should have known better with a girl like you” and “All I’ve got is a photograph” (from Ringo).

This is a fun take on a classic album.  And while I’ll always prefer the original, it’s nice for a change of pace.

[READ: April 11, 2016] “Soldier’s Joy”

I don’t quite understand the title of this story, but that doesn’t detract from my enjoyment of it.

The story is about a woman, Nana, and her much older husband.  It opens with her relating to him a dream she had.  In the dream, he sent her a love letter in which he stated how lucky he was “that you still want to live with me.”  He laughs and says he is quite humble isn’t he.

In his dream he imagined that their friend Helen, a “preposterously impossible person,” was pregnant.  Helen had hosted them the previous evening and her husband had been drunk and flirted with Helen’s nineteen year old daughter .

Later Nana called Helen to apologize for her husband and to commiserate about what they should wear to the next function at Libby’s house.   Helen says not to worry sabot it, that all girls flirt.  And of course, Nana remembers how she and Helen flirted with their college professor when they were in school and how, of course, he is the man who Nana ultimately married. (more…)

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