Archive for the ‘Poetry’ Category

SOUNDTRACK: KUINKA-Tiny Desk Concert #716 (March 9, 2018).

Kuinka are a happy band.  Smiles are on all four members’ faces as they play their three songs.

Miranda Zickler says that they spend all of their time in the van listening to NPR, so this is pretty exciting for them.

The blurb says:

Last year I came across Kuinka (coo-WINK-uh), a band from Seattle… Kuinka’s live performance knocked me out even more than the creative video they’d submitted for the contest.

Since then, Brothers Zach (guitar) and Nathan (mandolin) Hamer, along with Miranda Zickler (keys) and Jillian Walker (cello), have come to D.C. for an official performance at the Tiny Desk, bringing with them their great harmonies and unique blend of energetic, string-band music with a dose of synth.

I’m not sure what the band sounds like normally–if they typically play electronic drums or what, but as the blurb notes

The songs are performed here on relatively tiny instruments, including a ukulele, a drum pad, a small synth, a mandolin and a banjo, along with an electric guitar. But the performance is fleshed out beautifully with rousing vocal harmonies.

All three tracks performed here are from Kuinka’s 2017 EP Stay Up Late, and each one has its own charm.

“Curious Hands” has lead vocals by Miranda.  There’s a cello, keys and Nathan playing a small acoustic six string guitar (or ukulele?).  He gets a pretty big (largely percussive) sound out of that little thing.  But it’s the harmonies that are really spectacular.  I feel like the electronic drums are a little too electronic for this largely folk band but whatever.

For “Spaces,” Zach switches from electronic drums to electric guitar.  He also sings lead with an unexpected twang.  Nathan has switched to mandolin which gives the whole song a kind of Americana vibe.  The electronic drums sound they chose is awful, but there’s a really cool synth sound between verses that prevents this from being overtly in one genre.

Miranda “explains” the name of the band: Kuinka is like kuinka-dink but it doesn’t have anything to do with that, it’s just a coincidence [that’s our ‘bit’].

The blurb’s recommendation to stay until “Mistakenly Brave” is a good one as it is the most rousing song.  They revert back to previous instruments, although Miranda plays banjo.  The harmonies are terrific (much better than the solo vocals, honestly).  It’s got that whole The Head and the Heart vibe going on.  Big soaring vocals and a cool break that leads to a rollicking coda.  Mid way through, Zach switches back to electric guitar to add some oomph.

[READ: April 20, 2016] Endpoint

John Updike died in January 2009 after decades of writing for the New Yorker and elsewhere.  As the news settled in the magazine ran this tribute to him in the March 16 issue.

Rather than running a story, they published a ten-poem sequence called “Endpoint,” (I didn’t even know he wrote poetry).  Most of these poems were written in 2008, while presumably, he knew he was dying from lung cancer.

Endpoint (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.


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.


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: VICENTE GARCÍA-Tiny Desk Concert #701 (February 2, 2018).

Singer-songwriter Vicente García plays a delicate acoustic guitar and has a pretty crooning voice.

The blurb says that he

is still relatively under the radar, but performances like the one he gave at the Tiny Desk are starting to turn some heads.

García’s music isn’t dominated by his native Dominican Republic, but you can hear it in every note. His poetic lyrics are like short stories, sung by a voice both plaintive and evocative, yet always distinct.

“San Rafael” is quite a pretty song echoing the beauty of San Rafael.

Before “A La Mar” (the title of second album which means ‘to the sea’) he introduces [unclear] Vasquez from Dominican Republic on percussion and Ricardo Muñoz from Bogota on the keys.  There’s a neat moment where he plays a harmonic on the guitar in a rather unusual way.  The delicate percussion really adds a lot, as does the bass line plays on the keys.

“Dulcito e Coco” opens with a lovely guitar melody and a close up of the fascinating percussion box that Vazquez is playing–a purple, strangely-shaped box that seems to get different sounds where you strike it.  The song stays quiet throughout although it does get a bit bigger by the end.


[READ: November 13, 2017] Silly Rhymes for Belligerent Children

I was so excited to see Trace Beaulieu in person.  Ans even though this book is available everywhere, it was especially neat to buy it from the man himself and get him to autograph it.

It is subtitled A Yucky Big Book of Rainy Day Fun for Belligerent Children & Odd Adults with Nothing Better to Do.  The illustrations are by Len Peralta who apparently has not done anything else I’ve read even though his work looks so familiar and is really good.

So what is this?

Well the title is pretty accurate.  Trace has concocted snarky funny poems.  Most of them are pretty short (and in this format are often two or three lines per page) and accompanied by an illustration). (more…)

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SOUNDTRACK: JAMILA WOODS-Tiny Desk Concert #699 (January 29, 2018).

Jamila Woods is the Associate Artistic Director of Young Chicago Authors, the non-profit organization behind the Louder Than a Bomb youth poetry slam festival.  She also did guest vocals on a slew of albums recently.

Last year she released her debut album HEAVN.  But there is so much more

Singer, songwriter, poet, educator and community organizer Jamila Woods is also a freedom fighter: a voice that celebrates black ancestry, black feminism and black identity. “Look at what they did to my sisters last century, last week,” goes a line from “Blk Girl Soldier,” her powerful opening number at the Tiny Desk.

A cool bass line from Erik Hunter opens “Blk Girl Soldier.”  I don’t love the music that much (too jazz lite for me) but the lyrics are outstanding

We go missing by the hundreds…
The camera loves us, Oscar doesn’t…
They want us in the kitchen
Kill our sons with lynchings
We get loud about it
Oh now we’re the bitches

Woods’ delivery is fantastic and the backing vocals (and keys) from Aminata Burton add a nice touch.  Throughout this song and the others the drums are great–different sounds and rhythms from Ralph Schaefer.

Woods followed “Blk Girl Soldier” with “Giovanni,” another anthem of black female pride, inspired by the Nikki Giovanni poem “Ego Tripping.” The original text includes no punctuation, not a single comma or period, and reveals a liberated prosody that is also illustrated in the song. Listen how her lyricism interplays with the rhythm section’s syncopated groove to create a captivating state of emotional buoyancy.

I love the stops and starts and the groovy bass and soaring guitars from Justin Canavan.  But once again, I’m more enamored of her lyrics

Little Bitty you wanna call me
100 motherfuckers can’t tell me
How I’m supposed to look when I’m angry
How I’m supposed to shriek when you’re around me

“Holy” opens with just keys and a punctuating drum beat.  This song is a slower one and it is all about self-empowerment.

Of particular note is her recurring theme of self-love, as heard in “Holy,” the last song in this set: “Woke up this morning with my mind set on loving me.” (What a refreshing affirmation to hear “loving me,” instead of the predictable “loving you.”)

I don’t like R&B, but I could see this album transcending that for me.

[READ: November 12, 2017] The Resurrection of Joan Ashby

I received an email from A.M. Homes touting this book (obviously, I wasn’t the only one).  It was quite an encouraging email so I decided to give this fascinating book a try.  Boy, did I love it.

The book opens with a clip from the Fall issue of Literature Magazine.   It is a story about Joan Ashby, wondering where she has been all of these years.  The article says that they have been allowed to look at her childhood notebooks.

At thirteen she wrote nine precepts she was determined to follow in order to become a writer

  1. Do not waste time
  2. Ignore Eleanor when she tells me I need friends
  3. Read great literature every day
  4. Write every day
  5. Rewrite every day
  6. Avoid crushes and love
  7. Do not entertain any offer of marriage
  8. Never ever have children
  9. Never allow anyone to get in my way

Eight years later she burst onto the scene with her first collection of short stories about incest, murder, insanity, suicide, abandonment and the theft of lives called Other Small Spaces.  Four years later in 1989 her second book Fictional Family Life was a collection of superbly interlocked stories.

She was considered brutal and unsparing and wrote very powerfully.

During all of this time, her parents were irrelevant–they didn’t seem to think much about her when she was young and when she became successful she had little to do with them.

The “magazine” prints excerpts from these stories and here is where Wolas really shines.  She creates story fragments that really show off what a great writer Ashby (and of course, by extension, Wolas) is.

These are followed by an interview and her last public sighting–a reading of her work.  It was at this reading that her first shock was revealed–she had gotten married.  And when she toured for the second book, the women who revered her were outraged by this betrayal.

The opening section is “continued after the break” which is basically the rest of the book. (more…)

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I remember when this album came out.  I think it was one of the first Christmas albums in which a lot of very popular musicians contributed to it. Of course proceeds went to charity.  By now, 30 years later, many of these songs are deemed classic enough that you will hear them regularly at Christmas.

Suffice it to say I hated this when it came out.  Now, I have grown to appreciate (some of it) it more.

THE POINTER SISTERS-“Santa Claus Is Coming to Town”
I really didn’t like this song back then.  I think it has grown on me enough that I just don’t mind it any more and it is certainly a staple.

EURYHTMICS-“Winter Wonderland”
I really like Annie Lennox’s own Christmas album.  This song is fine, it’s a little too 80s sounding, but over all its enjoyable.

WHITNEY HOUSTON-“Do You Hear What I Hear?”
People really like to overdo this song.  This version is okay.

This is a classic Christmas song by this point, but boy do I dislike the sax.

PRETENDERS-“Have Yourself a Merry Little Christmas”
This version I don;t thin I hear too much.  Probably because it’s understated and quite nice.

JOHN COUGAR MELLENCAMP-“I Saw Mommy Kissing Santa Claus”
I don’t particularly like this song.  I love the musical style that JCM plays, although I don’t like the way he sings it.

STING-“Gabriel’s Message”
I don’t know this at all, I guess everyone skips it.  It’s rather pretty if you can get past the fact that it’s Sting at his more pretentious.

RUN-D.M.C.-“Christmas in Hollis”
This is an all time favorite.  The song is fantastic and must be heard every year.  I live that I write a Christmas card that goes to someone in Hollis.

U2-“Christmas (Baby Please Come Home)”
I’ve heard this a million times.  I don’t particularly like this song, but I do like this version.

MADONNA-“Santa Baby”
My most hated Christmas song, done by Madonna at her most grating.  Ugh.

Can Bob Seger ever do anything that doesn’t sound like him?  I don’t really like this song, but this version is kind of fun given how over the top it is.

BRYAN ADAMS-“Run Rudolph Run”
Never liked this song either.  It’s a lame lyrics to make into a rock n roll Christmas song.  All versions sound basically the same to me.

BON JOVI-“Back Door Santa”
I do not know this song at all.  Is it always skipped because it’s so bad?  Man the synths are awful.  Although it makes me realize just how unfair it was to both Bon Jovi and heavy metal that they were lumped into the same category.

ALISON MOYET-“The Coventry Carol”
I think Alison Moyet is the only artist here who most people probably don’t know today.  Her voice is really great though and this song is very cool.  Not exactly my favorite here, but certainly the most interesting.

STEVIE NICKS-“Silent Night”
It’s entirely possible that Stevie Nicks forgot how to sing on this song.  She seems really flat and then doesn’t even do most of the lead vocals half way through the song.  The “grace notes” are appalling too.

So it seems that the songs that were pretty good have stayed with us, the rest have faded away.  And there are a couple that need to be brought into rotation again.

[READ: December 23, 2017] “How to Be a Slut”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection. (more…)

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SOUNDTRACKPHISH-Live Phish Downloads 8.13.93 UNH Fieldhouse, Durham, NH (2007).

Despite the Phish tour ending in May, the picked up again just three months later.

“Lengthwise” starts of a capella.  Guitars slowly come in as washes and then “Llama” rocks out with some great blasts and a lengthy keyboard solo from Page.

“Makisupa Policeman” is fun with a few screams from Fish.  This version really highlights the reggae aspects.  There’s a trippy middle section with twinkling pianos that segues into a terrific version of “Foam.”

When it’s over you hear someone shout “Stash?” before they launch into a 12 minute “Stash.”  There’s some unusual soloing in the middle which Trey calls the “Friday the 13th” jam.  And then he introduces the “butt with protruding arms” (Fish) to play the washboard. It’s “Ginseng Sullivan” which was performed acoustic with Trey on acoustic guitar and Fish on “Madonna” washboard

Then comes a 15 minute “Fluffhead.”  It opens with some lovely acoustic guitars. Later during part of the jam they chant “just a bundle of joy” several times.

It’s followed by the short “My Mind’s Got a Mind of It’s Own” in a very honkey-tonk style.

It’s followed by a very pretty “Horn” that segues into a 20 minute “David Bowie.”  Fish starts the hi-hats while Trey plays a whole bunch of riffs first—like “My Favorite Things” and “Beat It.”  Trey also teases “The Mango Song” and “Magilla.”   The song starts properly about 4 minutes in.  The jam goes in all different direction, a slow section, then a fast and rocking jamming.  There’s some whistling and then a very jazzy hi-hat section.  The end is super fast with a wicked guitar solo.  It’s a great set-ender.

Set two opens with”Buried Alive,” a fast short song that segues into a lovely “Rift” and a relatively slow “Bathtub Gin.”  The bass is particularly chunky during “Gin” and then the song slows completely to give Mike a little funky slap bass action.  “Bathtub Gin” which runs to 15 minutes, includes, among other things, a “Weekapaug Groove” jam.  There’s a groovy keyboard solo with shouts of “Ole!”

There’s a bit of an awkward transition into “Ya Mar” but once they get going its smooth sailing especially when Trey shouts, “just Leo and the drums” and they break it down to just keys and drums. This segues into “Mike’s Song,” but Mike has fun by still singing “Ya Mar” and it seems to mess everyone up until they catch on and go with it.  The 12 minute “Mike’s Song” includes teases of Ted Nugent’s “Stranglehold”

“Lifebuoy” is very pretty and there’s a brief “Oh Key Pah” before they launch in to a show ending “Suzy Greenberg.”  For an encore they do a very quiet (unmic’d) a capella “Amazing Grace.”  The notes say that the song was performed “without microphones and is inaudible on the DAT and cassette soundboards. To present the entire performance, an additional audience source provided by Kevin Shapiro and Judd Nudelman was used.”  Mostly you hear a lot of people SHHHHing (why do people whoop during quiet moments like this?). But they follow it with a rocking “Highway to Hell” (which sounds a lot like AC/DC’s version.)

The rest of the disc includes some soundcheck stuff.  A goofy version of “Love Me Two Times” with them trying to sound like Jim Morrison.  The 1 minute Indiana Sound check jam is fun.  And then the final track is nearly 9 minutes of them setting up the washboard for “Ginseng Sullivan.”  It’s interesting if you care about their recording process, but it’s tech more talk than music.

So this set list is pretty similar to the show in May.  There’s a lot if duplication.  And yet, according to the essay by Kevin Shapiro,

 Summer 1993 was a time when each show somehow surpassed the last.  This show is legendary among Phishheads based almost entirely on the second set!  Instantly famous for its mind-melting (or is it mind-melding?) Bathtub Gin > Ya Mar and Mike’s Song > Lifebuoy … The entire show is risky and magical in so many ways.   [It had] already been accepted as legendary and literally begs for release…. Without them, the catalog – some would even say the fan experience – is simply incomplete.

So that’s a pretty rave review.

[READ: June 5, 2017] Ich bin ein Anderer

This book (translated as I am an Other) was created by Walter Ego (great name) and is written in English (not Ego’s native langauge).

This is a collection of drawings and short essays all in praise of failure, inadequacy and unprofessionalism.

Ego draws simple stick figure line drawings and aphorisms to celebrate insecurity. (more…)

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The cover during Phish’s 2014 concert was of this album.

Apparently many people grew up with this record.  I personally didn’t know it, but if you read the comments (don’t read the comments!) on any YouTube clip of the album you will see how popular it is.

Wikipedia describes it as  intended for “older children, teenagers, and adults” released by Disneyland Records (now known as Walt Disney Records). The album was mainly composed of sound effects that had been collected by the sound effects department of Walt Disney Studios. The album was released in several different forms. The album was first released in 1964 in a white sleeve, with a second release in 1973 with an orange sleeve. In both versions, the first side contained 10 stories narrated by Laura Olsher, complete with sound effects. The second side contained 10 sound effects meant for others to create their own stories.

Despite the title, most of the cuts had nothing to do with haunted houses or witches or ghostly spirits. Featured were such situations as an ocean liner hitting rocks, an idiotic lumberjack, a man crossing an unsafe bridge, someone lighting a stick of dynamite and a spaceship landing on Mars. Also, there are tracks with several examples of cats, dogs and birds (similar to “The Birds”) becoming enraged for some reason, as well as a skit about Chinese water torture. In addition, some of the screams were taken directly from the scene where Miss Havisham catches fire in the 1946 David Lean film Great Expectations.

The full track listing is

  • “The Haunted House” 3:00
  • “The Very Long Fuse” 1:28
  • “The Dogs” 1:13
  • “Timber” 1:45
  • “Your Pet Cat” 0:49
  • “Shipwreck” 1:39
  • “The Unsafe Bridge” 1:21
  • “Chinese Water Torture” 2:02
  • “The Birds” 0:46
  • “The Martian Monsters” 1:41
  • “Screams and Groans” 0:57
  • “Thunder, Lightning and Rain” 2:01
  • “Cat Fight” 0:37
  • “Dogs” 0:48
  • “A Collection Of Creaks” 1:54
  • “Fuses and Explosions” 1:11
  • “A Collection Of Crashes” 0:45
  • “Birds” 0:33
  • “Drips and Splashes” 1:18
  • “Things In Space” 0:53

Nothing is especially scary–although maybe for a kid, as many adults claim to have been really frightened by it.  Everything is quite over the top, especially the screams and cat howls and dog snarling.  Even the stories are a little silly, although having them in the second person is pretty genius.

But things like “one night as you lie in your lonely room in your stone hut on the moors…”  (What?).  And the Martian one.  Just keeping with continuity: if “you,” meaning me, went on the trip, then I couldn’t hear the crunching as it ate me.  Or the silly voice saying “I wonder what that was.”

And the less said about the horribly racist Chinese Water Torture the better.  I mean, the opening is bad enough: “The ancient Chinese were a very clever race” but the end of the song is really awful.  But if we can look past that, the rest of the record has fun with sound effects and is generally pretty enjoyable.

During the John Congleton interview, he also talks about this album and says (at 40:28) “the speakers are 180 degrees out of phase to make it sound extremely stereophonic.”  He says now as an engineer it is totally painful to listen to.  Bob says it sounds like it comes from the back of your head.

[READ: October 15, 2017] Half-Minute Horrors.

The premise of this book (edited by Susan Rich) is simple: how scared can you get in 30 seconds?  To me, the answer is actually not very.  I guess for me fear builds over time.  It’s hard to get genuinely frightened over something that just suddenly happens (unless it is just trying to frighten you quickly, of course).

Having said that, I enjoyed this book a lot (look at the list of authors!).  I liked the arbitrary goal of writing a scary story in a paragraph or two (or more).  And some of them were really quite creepy.

I was originally going to point out which ones I felt were the most creepy, but there are so many stories, I kind of lost track.  So instead, here’s a rundown and a brief summary. (more…)

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