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Archive for the ‘Nudism’ Category

SOUNDTRACK: CHAI-Tiny Desk Concert #904 (October 23, 2019).

What sounds like circus music plays as four women dressed in hoods with colorful bangles run out behind the desk and start dancing.

The lyrics begin: C-H-A-I.  CHAI.  We are CHAI.

The choreography continues for about a minute and a half when they take off their robes to reveal the four of them wearing matching pink and orange outfits.

The quartet made its grand entrance wearing hooded pom-pom outfits, with loosely choreographed dance moves, while the band’s song “This Is CHAI” played boombox style. It felt adorable. But once the hoodies came off, revealing their matching pink, crop top uniforms, the serious fun began.

In yet another example of how the best Tiny Desk Concerts are unfairly short, this super fun and adorable set is not even 11 minutes long.

Although CHAI does manage to play 4 songs in that time.

My face hurt from smiling so much! That’s what I remember most about CHAI’s Tiny Desk. CHAI is a sweet, colorful blanket of joy. These four women from Japan — twin sisters Mana and Kana, along with Yuna and Yuuki — are on a mission to expand the conventional notion of what we think of as “cute” or “kawaii” as it’s called in Japan.

They open with “Hi Hi Baby.”  Yuna plays drums while Mana and Kana start singing.  Then Yuuki starts playing the bass–a fast rumble while Mana and Kana keep singing (and doing choreographed arm gestures).

Their voices are high and they are decked out in pink.

CHAI’s music leans punkish, and the outfits quite pinkish. The songs played at the Tiny Desk come from both the band’s 2017 album Pink and the 2019 album appropriately named Punk. The group’s lyrics bounce back and forth from Japanese to English, often in the same sentence.

For “N.E.O.” Yuna sits at the drum kit and plays a cool, complex pattern while Yuuki’s bass brings in a great low funky riff.  Kana adds some guitar licks as they sing in a kind of staccato style (in harmony).

The song ends and the three of them raise their arms and say We are CHAI!

“Fashionista” is one of these songs where you can tell it’s Japanese and English.  There’s big thumping bass as the vocals kinds of whisper the lyrics.  I don’t know what they’re saying–except the chorus “we are fashionista.”  There’s some cool chunky guitar and a great sliding bass (their bass sound is terrific).  Mid-song Kana plays guitar by itself while singing before the band jumps back in together.

Before the last song.  They introduce themselves:

I’m Mana and I’m Kana and we are twins!   Same face!  Same face!
I’m Yuna and I’m Yukki.  We are … not twins.

CHAI chose “Future” for the final song, with more lyrics to brighten my smile and the smile of those around me.

“This is just my FUTURE!
This song about us forever!
Are you ready?
Never seen before!
It’s just what I imagined!
Come on!”

For “Future” Kana plays a futuristic synth sound while Yuuki plays a slow, low bass and Yuna hits the drums and percussion with her hands.

I’ve been looking forward to this Tiny Desk and it did not disappoint.

[READ: March 1, 2020] “Unbuttoned”

This is a another essay about Sedaris’ father.  Sedaris’ father is 96 and quite frail.

David himself was in the hospital about to undergo “a pretty disgusting procedure: in a few hours’ time, a doctor was scheduled to snake a multipurpose device up the hole in my penis” when his sister called to say that their father was dying.

The urologist said the device had a camera that showed what was going on inside: There’s your sphincter!

He says his previous exam like this involved his prostate

I’m fairly certain it involved forcing a Golden Globe Award up my ass.  I didn’t cry or hit anyone, though.  Thus it annoyed me to see what he English radiologist who’d performed the test had written in the comment section of his report: “Patient tolerated the trans-rectal probe poorly.”

They bought next-day plane tickets for the U.S.  En route DAvid learned that his father had been taken out of intensive care and sent back to his Assisted Living Facility.

When his father woke up, David said “I figured you’d rally as soon as I spent a fortune on last-minute tickets.”  He said he knew “that if the situation were reversed he’d gave stayed put, at least until a discount could be worked out.” (more…)

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SOUNDTRACK: JEALOUS OF THE BIRDS-NONCOMM 2019 Free at Noon (May 15, 2019).

I heard the band name Jealous of the Birds and I instantly formed an opinion of what they sounded like.

And this recording couldn’t be much further from what I imagined.

I assumed they would be bird-like and they are not at all.  This set rocks, it switches genres, it covers a lot of grown, but nothing at all bird-like.

Many artists live by the philosophy of creating the music that they want to exist in the world, but few do it in such a striking way as Jealous of the Birds. Northern Irish songwriter Naomi Hamilton has been making music under the moniker for a few years now, but each song we hear from Jealous of the Birds feels like a fresh new discovery — and anyone who was hearing the band for the first time today undoubtedly felt like they were experiencing something special.

Folks who attended last year’s NonCOMM music meeting may remember hearing a glimpse of the arresting single “Plastic Skeletons.” The song, which is not quite like anything else and not immediately accessible, is congruous with Hamilton breaking out of her local music scene in Northern Ireland and carving out an indescribable genre of her own. Since then, Jealous of the Birds has gone on to release two new EPs, The Moths of What I Want Will Eat Me in My Sleep and Wisdom Teeth, which show the depth and range of Hamilton’s songwriting ability.

Driven by her love of language, Hamilton’s lyrics are intricate and poetic; musically, you can detect influences from Irish folk to psychedelic rock.

With her slicked back hair and laid-back demeanor, Hamilton makes it look easy, but her songs aren’t necessarily easy to listen to — hearing them once will only make you want to listen again and again to try to understand what the artist is getting at.

The first four songs are from their 2016 album Parma Violets.

Powder Junkie is a stomping, stop and start kind of song.  It’s bluesy but stops abruptly after just 2 and a half minutes.  It’s a great introduction to the band.  As is “Trouble in Bohemia,” a slower song with a folk feel. It showcases the softer side of the band, and is also quite short.

“Russian Doll” introduces a much more poppy sound to the band.  The chords are simple, but the highlight the clever lyrics

I took your compliments
I just struggled to believe
That I was worth loving
And you weren’t lying through your teeth
In truth, I’m a Russian doll
My egos shut inside
I painted them by hand
And I’ll never let them die

“Parma Violets” is slower and more acoustic-sounding.  It’s a ballad and a sad one a that:

Oh please
Don’t you swallow
Pills like parma violets
Again

I had to look up to discover that Parma Violets are a British violet-flavoured tablet confectionery manufactured by the Derbyshire company Swizzels Matlow.

The next two songs come from 2019’s Wisdom Teeth EP.  I like them both.  “Marrow” is a folk song, but “Blue Eyes” is a wonderfully weird rocking song.  It feels off-kilter with some unexpected lead guitar riffs at the end of each verse and some funky bass parts.

The final song, “Plastic Skeletons” comes from 2018’s The Moths of What I Want Will Eat Me in My Sleep.  It’s got a cool bass with some nifty guitar line to start the track.  The chorus is kind of staccato and lurching and quite a lot of fun.

These last two songs were my favorite of the set, and I’m glad to see they are the most recent songs. I like the direction they’re going.

[READ: May 15, 2019] “Peep Hall” 

I have read many many stories by Boyle and I like him quite a lot.  I like that he writes about so many different topics from so many different perspectives.  He is even unafraid to be sympathetic to people who don’t seem to deserve it.

It was somewhat unfortunate that I read this story and the previous one by him (written about 19 years apart) on the same day because they were both rather creepy and voyeuristic and sympathetic to people who necessarily don’t deserve it.

The narrator of this story, Hart Simpson, likes his privacy.  His phone is unlisted and the gate on his driveway locks behinds him.  When he sits on his porch, the neighbors can’t see him.  He works as a bartender at the local pub and is quite a visible person, but when it’s time off, he wants to be alone.  I mean, sure he hooks up once in a while, but otherwise he’s alone.

One afternoon, a woman came up his driveway.  She had been talking to his next-door neighbor (not his favorite person) in some kind of heated argument.  Then she came over to his porch. (more…)

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SOUNDTRACK: JÜRGEN MARCUS-“Ein Festival der Liebe” (1973).

Schlager (see the end of the book entry below) has become a catch-all term for (European) inoffensive pop music.  But apparently in the 1970s it had a slightly different and more specific connotation/sound.  The more I dove into this explanation, the more confusing it became.  Until someone posted a link to this song.

It’s easy to see how people reacted against the music back when it was super popular–it is so safe and inoffensive as to be totally offensive to any one with artistic sensibility.  But now that pop music has become something so radically different, often aggressive and vulgar and very electronic, this kind of bland, fun sing along is actually charming and kind of appealing.

The chorus is easy to sing along to, you can clap along without anything complicated going on and it’s all happy and sweet (even the ahhs in the backing vocals are super happy).  The music is soft, even the little piano “riff” in the middle is obvious.  I love that the song gets a little “risky” in the end third with a “drum solo” and Jürgen singing a kind of tarzan yell, but it’s all returned safely to th end.

The video is spectacular with Jürgen’s brown suit, big hair and even bigger collars.   It’s quintessential warming cheese.  It’s the school of music that ABBA came from as well.  It’s Eurovision!

And I find it quite a relief from the pop schlager of today.  This song was given example of contemporary German schlager:  Helene Fischer “Atemlos durch die Nacht”.  Her delivery is inoffensive by the music is so contemporary and dancefloor that it doesn’t feel anywhere near as delightful as the 1970s song,

[READ: February 9, 2019] How to Be German

I saw this book at work–the German side–and it looked like it might be funny.  I wished I could read more than the very little German that I know.  And then I flipped the book over and discovered it was bilingual!  Jawohl!

This manual is a very funny book about being German.  It was written by a British ex-pat who moved to Germany many hears ago and has settled down in the country he now calls home.  The book gently pokes fun at German habits but also makes fun of his own British habits and cultural components.

I studied German for one year which makes me in no way qualified to judge the quality of the humor or the accuracy of the cultural jokes.  The book does a very good job of cluing the unfamiliar in on what he’s talking about.  Although there are about a dozen exceptions where no context is given to the ideas that he’s talking about, which is quite frustrating, obviously.

I’m not going to go through all 50 of these ideas, but there are some that are particularly good and some that I found especially funny. (more…)

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