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Archive for the ‘Native Americans’ Category

SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Eyes Like the Sky (2013).

King Gizzard and the Lizard Wizard clearly didn’t set out to top the charts. After the frenetic fun of 12 Bar Bruise, their follow up is this–a spoken word “Western” musical.  Stu Mackenzie says that after recording “Sam Cherry’s Last Shot” with Broderick Smith, he wanted to try a “multi-song, read-along, narrative based western musical” and Brod was keen to write a story and narrate it.

The music is impressively “Western.”   Right out of the gates, you feel the reverbed guitars and sound effects of gun shots.  Repeating motifs abound and there is an amazing amount of restraint.  Plus, the songs (which don’t really follow the story chapters) are quite different from each other (all within the same Western motif). “Year of Our Lord” builds some real suspense.  While “The Raid” adds some surf guitars.

You can also hear his parents’ dogs barking in “The Killing Ground” and his dad banging on a rusted saw blade, which you can hear in “The Raid.”

“Drum Run” is, indeed, very drum heavy with distant echoing harmonica.

And then there is the story.  A story of a man who is feared as a legend.

The bad white men call him the devil the Yavapai call him Eyes Like the Sky.

Miguel O’Brien was kidnapped from his white family when he was five years old.  He became a fearless Yavapai Apache warrior.

The American Civil had not encroached on Apache territory.  But ten years later, the Americans brought their war to Apache land.  They were

Led by a man holding a leather book with a cross stamped in the leather.  An evil man who did terrible  things to people in the name of a god that looked upon the man himself with revulsion

The music for this track is called “Evil Man” and between the Western riff and the backing “ahahas,” it’s got gunslinger all over it.

The Americans killed the Apache, but he was spared because of his blue eyes.  But once more family he loved had been killed–this time by Americans.

The god man thought he might be from the O’Brien family or maybe the Jebsen family.  So they named him Jebsen O’Brien but they called him “blue” because of his eyes and his expression.  A trapper taught him white man’s ways so that he could read and write and also learned to use a gun.

The god man was a truly evil man–“satisfying his goat lust with a Yavapei girl.”  Seeing this defilement, Blue swiftly killed him. Then he took guns, money and the defiled girl and fled from the Fort.  The two of them happened upon a scene of death–white men killing white men but disguised as Apache.

I’ll not spoil the ending but the final two songs are “Dust in the Wind” (not that one) and “Guns & Horses.”   “Dust in the Wind” is a stomping song that presages death–of many.  “Guns & Horses” ends the story–all too early in my opinion.  While Eyes Like the Sky’s story comes to a satisfying conclusion, I want to hear more.

With a cool soundtrack.

Incidentally, the soundtrack is far more grown up than the graphic novel.

[READ: February 5, 2019] Knife’s Edge

I didn’t realize that these two books made up the Four Points series (I didn’t know there was a series title until I looked this book up].  But it is nice to see that this book ends the story.  And it ends it very well.

This book opens with the explanation of what happened to Alex and Cleo’s father when he left them on their own.  He went off to do a (supposedly) simple job down at the docks.  But while he is aboard a ship he is attacked by Lucky Worley.  Turns out Worley knew that Mr Dodge had the pocket watch and pocket knife–the clues that will lead him to the treasure he wants so badly.  It also turns out that he doesn’t know about Alex and Cleo.  So he hijacks Mr Dodge and takes him aboard his ship.   We also learn that Dodge isn’t their father–which we knew from how young the babies were when he received them, but the kids didn’t.  He doesn’t know who their real father was.

Worley had caught word of them through their involvement in the Black Hook gang and he deduced that they had the map pieces.  So their lives were now in danger.  And that’s pretty much where book one began. (more…)

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SOUNDTRACK: NPR: The All Songs Considered Holiday Cruise 2018 (December 19, 2018).

Every year Bob Boilen and Robin Hilton “try to do something special for the holiday and it never works out.”  This year’s Christmas special sees them taking a cruise to Bermuda.  What could go wrong?

Every year I have loved the Christmas special–the fun music, the silly story, the guests. But this year’s was my least favorite so far.  And this is mostly because of the music and the guests.  The story was absurd and funny which I liked, but they really didn’t have any artists I was excited about.

Robin is of course unimpressed and concerned (given that they are sailing on Calamity Cruises) and Bob is as ever a gleeful optimist.  And there’s a strange recurring joke about rooms and cabins.

The show opens with a nice (unattributed) version of “Christmas on Christmas Island.”

There were some fun guests for sure, though.  They arrive at their cabin and find Mickey Dolenz (whose Paypal joke is quite funny, but he laughs a bit much at himself).  Most of the artists have a Christmas album out.  The Monkees-“What Would Santa Do” is a fun little ditty and it was written by Rivers Cuomo, so you can hear the Weezer in it.

Things kind of go south as soon as they look at the newspaper and see that William Shatner is lost at sea.

They meet Aloe Blacc on deck who says he created an album of new Christmas songs which were fun and dancey.  The song “Tell Your Mama” is okay.  Nothing special.  It is a little dancey, but maybe it’s not the best track on the disc.  I don’t know.

Robin goes on a journey and meets Steve Martin and the Steep Canyon Rangers.  “The Strangest Christmas Yet” is a fun song, but it came out in September so it’s not new or anything (which is what I tend to think this show is about).  But it’s enjoyable to hear Steve tell the crazy story.

Then Bob & Robin zipline along the ship where they run into Lucius.  They play the Lucius version of “Christmastime is Here,” which is pretty as most of their songs are but not very festive.  The story by Holly afterwards about hearing actual jingle bells is a highlight of the show.

Rodney Crowell also tells a funny story about playing basketball on the road.  Although his album is pretty dark, he says his album is about being Scrooge and looking for redemption.  They play “Let’s Skip Christmas This Year,” a bluesy romp that’s more fun than the title lets on.

The guys find themselves caught in the Bermuda Triangle and Shatner makes his appearance, “singing” “Blue Christmas” with Brad Paisley.  Shatner can’t overpower Paisley’s twang.

Up next is John Legend.  What I like about this is they try to talk to him about being lost and Legend is talking about his Christmas album–a funny spliced interview.  They play John Legend singing “Have Yourself a Merry Little Christmas” with Esperanza Spalding. It’s pretty good but they do too much vocal acrobatics at the end.

As the show ends, the final joke is revealed thanks to a grant (great joke).  Although the show ends with another Shatner song, an over the top “Feliz Navidad.”

So no one terribly exciting for this journey, but there are a few good Christmas songs to add to your favorites.

[READ: December 21, 2018] “The One Who Is”

Once again, I have ordered The Short Story Advent Calendar.  This is my third time reading the Calendar (thanks S.).  I never knew about the first one until it was long out of print (sigh).  Here’s what they say this year

Fourth time’s the charm.

After a restful spring, rowdy summer, and pretty reasonable fall, we are officially back at it again with another deluxe box set of 24 individually bound short stories to get you into the yuletide spirit.

The fourth annual Short Story Advent Calendar might be our most ambitious yet, with a range of stories hailing from eight different countries and three different originating languages (don’t worry, we got the English versions). This year’s edition features a special diecut lid and textured case. We also set a new personal best for material that has never before appeared in print.

Want a copy?  Order one here.

Like last year I’m pairing each story with a holiday disc from our personal collection, although today’s soundtrack is an NPR special.

This story shows the conflict between native culture and white culture.  It’s unclear when it is set, but at least the white doctor does sterilize his instruments.

Nona is about to give birth and she is having a very hard time. Her water broke, but she has been pushing for days with no luck–the baby is breached. (more…)

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SOUNDTRACK: MUMU FRESH Feat. Black Thought & DJ Dummy-Tiny Desk Concert #765 (July 11, 2018).

I recognized Mumu Fresh from when she appeared at a Tiny Desk with August Greene a few months ago.  Mumu Fresh was a true highlight of that show–her rap was political and personal and powerful.

Here she’s got her own concert (and DJ Dummy is back with her for this as well).

A regal combination of black power and Native American pride, Mumu Fresh — also known by her birth name Maimouna Youssef — is an abundantly gifted singer and emcee who prances between genres and styles. The Baltimore native fuses her rich multi-octave range and ferocious rap delivery with spiritually inclined lyrics so potent and mindful they precipitated a wellspring of emotion throughout the room.

Mumu began her own Tiny Desk in her native Lakota tongue with “Ink Pata,” signaling a call to prayer in a sacred ritual. Looped tribal chants of her own harmonies set the mood as delivered a stirring spoken word performance that journeyed through her ancestral lineage to the struggles of the present day.

Her looping is outstanding–she harmonized with herself perfectly.  After a minute and a half she speak/raps/reads a lengthy piece that is really powerful.

With a buoyant and thoughtful spirit, Mumu and her band transitioned into the classic-sounding “Miracles” from Vintage Babies, her collaborative album with group mate DJ Dummy. Declaring it a celebration of soul music, she mixed sweet tender melodies with lyrics to empower those devoid of hope.

She introduces “Miracles” by saying, we are always waiting for something to happen.  But what if your miracle is waiting for you to be prepared: “the teacher arrives when the student is ready.”  It was great having live strings on this track: Chelsey Green (violin), Monique Brooks-Roberts (violin), Kevin Jones (cello) and the backing singers (Amber Harmon) gave an excellent soul sound.

This song segued into the awesome “Work in Progress.”  Accented by the feel-good chords of The Roots keyboardist Ray Angry, and Chris Dave (drums) and Romier Mendez (bass), Mumu speaks t he truth.  With some of my favorite lyrics:

I wanna be a good role model to girls coming after
but sometimes I slip up and say some shit that’s wretched
Forgive me, I’m a work in progress

I don’t give a fuck about what you’re saying to me.
If I’m too big for my britches then give me a sheet.
I need room to grow I’m still figuring it out,
If you say you ain’t, you lying–what you talking about?

and my personal favorite

I’ve been through so much shit I’m surprised I’m still standing
so every time I see a mirror I pose dammit!

The set concludes with a new version of “Say My Name,” a song Mumu wrote about Sandra Bland, who died in police custody in 2015, and the impact it had on her. Starting off with a 1950s doo-wop circle, she blends traditional soul elements with politically relevant lyrics.

It opens with doo wop vocals and lovely pizzicato strings:

If I should die tomorrow at the hands of the policeman
and the papers say, hey, we’re going to call it as suicide
would you even question why?

We watched a woman get drug out and beaten
filmed on a highway
and all y’all could say was black women too mouthy
I’m vexed searching my timeline
See if people find time to criticize and villainize, call that shit a suicide.
What if Sandra Bland was your child

Audacity of hope
to believe you can succeed when everybody and their momma say no
Well fuck y’all. I’m different descendant of the fittest
I’ve been reincarnated just so i can handle business.

Black Thought comes out for a final verse, but it’s hard to hold a candle to what Mumu just laid down.  His flow is great though.  And she even tacks on an extra verse after the credits.

[READ: February 1, 2018] “The Requirement”

I rather enjoyed this simple story, told simply.  It begins with the narrator talking about how when you get older, you lose people.  You don’t care about people who have died until people your own age start leaving.

He says that when people who mattered to him died, he began to feel something was required of him. If he could do it, he did, but sometimes he didn’t know what the requirement was.

When his good friend Bog Ellis got sick he felt a requirement but had no idea what it could be or how to do it.

She tells us some great Big Ellis stories. (more…)

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SOUNDTRACK: FROM THE TOP-Tiny Desk Concert #758 (June 22, 2018).

From the Top is a radio show (and podcast) which showcases young, talented classical musicians.

For over 20 years, From the Top (distributed by NPR) has built an impressive platform to celebrate the music, lives and stories of youngsters playing classical music. That’s right. Young people in this country love classical music.  We invited three talented From the Top musicians to the Tiny Desk. No squeaky violins here. These kids are terrific players.

From the Top alum Derek Wang is our good-natured emcee, in addition to serving as a sensitive accompanist for two of the pieces.

The first piece is played by 12-year-old violinist Kaia Selden–sparks fly (and bow hairs, too) when  she tears into

  • Henryk Wieniawski: “Scherzo-Tarantelle, Op. 16”

A bouncy piano opens up this amazingly fast violin piece.  Selden plays with fire and passion as her fingers fly over the fretboard for these incredibly fast notes and runs.  It’s stunning how composed and confident she is.

She explains that the song is a tarantel, a kind of dance, named after when you are bitten by a tarantula–you have to dance really fast and crazy to get the venom out of your system.

Up next is cellist Noah Lee who uncovers fascinating new sounds on his instrument

  • Mark Summer: “Julie-O”

The piece opens with plucked notes and strummed chords.  He pays what sounds like rock riffs and then after a minute or so he picks up the bow and begins playing the instrument conventionally–with some quick runs and cool sounds.  Then he adds new sounds–slapping the strings with just his left hand and then using his right percussively.  There’s some more plucking notes and full chords before ending with more bowed music.  It’s a mesmerizing solo piece.

The third musician is Javier Morales-Martinez who makes his velvety clarinet sing in elegant music:

  • Francis Poulenc: “Clarinet Sonata, II. Romanza”  The

The juxtaposition of piano and clarinet is quite lovely and Javier greats some amazing sounds out of the instrument,.

Javier says that when he was 7 or 8 he used to play music with his dad from Mexico.  He was later introduced to classical music and has been playing it ever since.

It’s an inspirational set from amazing young musicians.

[READ: February 9, 2016] “The Flower”

Erdrich had a short piece in the previous issue of the New Yorker, and here she gets a full short story.

I was really surprised to find this story set in 1839 in Ojibwe country (although I see that Erdrich has written extensively about Okibwe country, so that’s my bad, clearly).

The story is a fairly simple one.  There is an older Ojibwe woman, Mink, who is wailing and carrying on, demanding the trader’s milk –a mixture of raw distilled spirits, rum, red pepper and tobacco–from Mackinnon.  It was driving Mackinnon crazy, but Mink was from a family of healers and could not be denied.

The other man in the tent was Mackinnon’s clerk, Wolfred Roverts who was trying his best to get the sound out of his ears. Wolfred aged 17 was from Portsmouth New Hampshire.  He missed his home terribly but there was no life for him back there. (more…)

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SOUNDTRACK: RAUL MIDÓN-Tiny Desk Concert #718 (March 15, 2018).

I had never heard of Raul Midón before this Tiny Desk.  So I’ll use the blurb for an explanation of who he is.

Raul Midón lives in a world of sound — blind since birth, Midón’s interpretation of his surroundings is borderless. He sings with the passion of the best classic soul singers, and his instrumental chops stand along side the most accomplished jazz musicians.

Normally backed by a band that straddles styles just as well as he does, for his turn behind Bob Boilen’s desk Midón stripped it down to just voice and guitar, the musical equivalent of tightrope walking without a net.

You could choose any of the songs he performed, listen on repeat and continuously discover layers of musicality — the nuance of a bent note in his vocals, a burst of perfectly placed guitar notes.

Midón played five songs.

For “Gotta Gotta Give” he primarily uses a kind of slapping guitar style for his chords–he slaps all of the strings with his palm making a kind of gentle but loud sound.  But he also does some great picking on the descending chords.  I love the little harmonics he throws in a the end of the verses.  For this song he plays a trumpet solo with his mouth which is pretty cool.  Later he does a solo duet with his mouth-trumpet and the guitar.  His voice is powerful and soulful.  It’s a great song.

He says that he wondered how to address the fact that he was blind. He wanted people to talk about the issue but no one every would, so he called his new album Badass and Blind and people talk about it now.

“Sound Shadow” has a more abrasive picking style–almost like a slap bass but on all of the strings.  It’s a very different sound form the first song.  The solo is a mixture between very fast picked notes and some really fast pick-less strumming.  Vocally he really mixes things up as well, with some nice falsetto at the end.

“If Only” was inspired by Tin Pan Alley stylings which you can hear in the chords.  “Bad Ass and Blind” has a bluesy sound with some more cool harmonics and some dramatic minor chords.  I like the way the chorus is very different from the staggered melody of the verses.  The second verse is all rapped while he plays that guitar.  And his delivery is solid.  It’s got an even better sounding trumpet solo.

For “Mi Amigo Cubano” he switches to a nylon stringed guitar.  He says he wrote this song with Bill Withers, who wanted a song written sin Spanish–basically Raul translated what Bill wanted He asked how do you say “Hows your wife?” “Como esta tu esposa?”  “Well put that in there!”  This song has Spanish soul.

I really enjoyed this set a lot.

[READ: March 20, 2018] “The State”

I didn’t really enjoy this story.  It felt kind of slow and meandering and the ending was really bland.

But I have learned though, that if I don’t like a New Yorker ending because it doesn’t feel like an ending, it is probably an excerpt–which this was.  Knowing that now changes my opinion of the whole thing.  And reading a bit about the novel it sounds multifaceted and really quite interesting.  Now I feel badly for judging it harshly at first.

It begins “before you were born, you were a head and tail in a milky pool.”  Your history goes back further and further, but then returns to your birth when your heartbeat was arrhythmic.

Your dad said “maybe he as a drummer.”  And in the womb, you did begin to kick to any beat offered.  Your dad is 100 per cent Indian–a recovering alcoholic medicine man from Oklahoma.  Your mom is white but there is too much and not enough whiteness to know what to do with it.  You were raised Christian although you enjoyed your father’s powwows more–but your mother became more and more opposed to them as she got older. (more…)

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SOUNDTRACKPHISH-“The Unsafe Bridge” (MGM Grand Garden Arena, Friday 10, 31, 2014).

In honor of Halloween, these Ghost Box stories will be attached to a recent Phish Halloween show [with quoted material from various reviews]. 

Known for dawning musical costumes to celebrate [Halloween], Phish broke with tradition last year to offer a set of original music.  The Phish Bill read that Phish’s musical costume would be a 1964 Disney album of sound effects – Chilling, Thrilling Sounds Of The Haunted House.  But it wasn’t a cover set. Phish played original music set amongst an incredibly psychedelic, theatrical graveyard stage accentuated by zombie dancers and a ghoulish MC.  At the start of the set, the stage was cleared before a graveyard came to the foreground.  Smoke filled the air, zombie dancers appeared, and music filled the venue. A haunted house was brought to the front of the stage, which eventually exploded, and all four-band members appeared, dressed in white like zombies. 

“The Unsafe Bridge” was Phish’s version of a Spaghetti Western soundtrack with elements of Genesis and The Beatles worked in. While the band played these songs, lasers and other effects not usually seen at a Phish show were added to the insane spectacle.

This song definitely a spaghetti western vibe from Mike and some appropriate piano from Page.  Trey plays some simple guitar melodies.  And then a pretty solo.

This piece is nicely catchy but also really short at only 3 minutes.  I could have listened to this one for longer.

[READ: October 16, 2017] “The Late Shift

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar comes The Ghost Box.

This is a nifty little box (with a magnetic opening) that contains 11 stories for Halloween.  It is lovingly described thusly:

A collection of chilly, spooky, hair-raising-y stories to get you in that Hallowe’en spirit, edited and introduced by comedian and horror aficionado Patton Oswalt.

There is no explicit “order” to these books; however, on the inside cover, one “window” of the 11 boxes is “folded.”  I am taking that as a suggested order.

This story started in an amusing way–kids returning from a 2 AM screening of The Texas Chainsaw Massacre stop at a convenience store to but some alcohol.  It’s Macklin and his friend Whitey (who is Native American–real name is White Feather).  At the store, the clerk is acting really weird, just repeating “Please, thank you, sorry” and seeming to be really out of it.

They recognize him as Juano, a guy they know from another store, but he seems to have really hit the skids as they say. (more…)

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SOUNDTRACK: RHEOSTATICS-Copps Coliseum, Hamilton, ON (December 11 1996).

This is the final show on Rheostatics Live in which the band is opening for The Tragically Hip.

For this show, the intro music is also from The Wizard of Oz, but this time it’s Judy singing “Somewhere Over the Rainbow.”  It’s just one verse before fading out and then guitars fading in for Martin to play “A Mid Winter Night’s Dream.”

Turns out that this setlist is similar to the one from Buffalo with a lot of new songs.  Although there are a few older/more popular songs in places.

The new songs include “Fat” which sounds great of course.  I gather they are maybe sharing a microphone because at the end Dave says “See you in the next song, Martin.”  “Okay, Dave.”  This leads into a perfect version of “All the Same Eyes.”

Martin says “We are the Rheostatics.”  Dave says “We are the Rheostatics, not to be confused with The Howell Brothers (?).  They couldn’t make it but we got their jackets.  It’s nice of you to come out early.  We’re playing selections from our new record. Get it before it’s reduced to clear.”  (You can hear someone laugh on tape).

This is a segue into the single “Bad Time to Be Poor.”  It’s followed by another Tim song, “Claire” with the acoustic guitar opening in place.  There’s another lengthy guitar solo, although it’s not quiet as exciting as some of the other ones.  But Martin was saving up for a spirited version of “California Dreamline.”

They end their set with a rough rocking “Feed Yourself.”  During the spoken part, they slow things down to just a bass and washes of guitar.  It’s a pretty intense ending and a good preparation for The Tragically Hip.

[READ: June 25, 2017] The Story of Canada in 150 Objects

In celebration of Canada’s 150th year, Canadian Geographic and The Walrus created this special issue–a fun way to describe many elements of Canadian culture through “objects.”

The objects are grouped in vague categories.  Some have just a few words written about them while others get a few pages.  Some are humorous, some are more serious.  Most are happy or amusing, some not so much.  And all of it together paints a diverse and complex portrait of the country–as well as teaching this person from South of the border a number of things I did not know.

It’s with comic pride and humility that the first object is politeness (which is not an object at all, of course).  The amusing thing about this article about “politeness” is that while the author of it is very pleased to be so polite, he also can’t wait for his fellow Canucks to forget to be polite so he can rub it in with a extra smarmy “You’re Welcome.” (more…)

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