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Archive for the ‘Revenge’ Category

SOUNDTRACK: DANIEL HOPE-three pieces (Field Recordings, August 21, 2013).

The only thing I like more than a Field Recording set outside, is one set in an unlikely building, like the way this Field Recording [Daniel Hope’s Earth And Sky Expedition] is set in the American Museum of Natural History.

When Daniel Hope was a boy, the only thing he loved as much as his violin was his telescope. Gazing into the night sky, he pondered the vastness of space. Now a grown man, Hope still has a penchant for wonder and discovery — especially when it comes to music.

In his latest album, Spheres, Hope returns to the spirit of those early astronomical adventures. His idea, he says, is “to bring together music and time, including works by composers from different centuries who might perhaps not always be found in the same galaxy.” The unifying factor is the big question: Is there anything out there?

What better place to play with that ancient query than the Rose Center for Earth and Space at New York’s American Museum of Natural History. We invited Hope and jazz bassist-composer Ben Allison into the “performance crater” in the Hall of Planet Earth.

As if the Hall isn’t interactive enough — with its glowing orbs and 4.3 billion-year-old zircon crystal — we wrangled afternoon museum-goers to participate in our own Earth and sky expedition. Equipped with small flashlights, they became the twinkling stars surrounding Hope and Allison in the darkened room.

The music seems to live and breathe in the space, as each of the three pieces (spanning four centuries) reverberates a unique voice. “Imitation of the Bells,” with its rippling arpeggios and tolling bass line, comes from the long forgotten Johann Paul von Westhoff, a German violin master who crisscrossed Europe a generation before J.S. Bach. In “Berlin by Overnight,” from contemporary Max Richter, Hope’s violin asteroids whiz past while Allison’s bass propels through outer space. And finally, the otherworldly beauty that is Bach’s “Air on a G String” floats in a safe, gentle stasis.

It’s neat watching the little kids swing their flashlights around while the older kids watch on, bored, from the balcony during “Imitation of the Bells.”  Hope’s violin is flying in a flurry of activity while the bass keeps things grounded.

I’m not sure that I have heard many violin pieces performed with a bass accompaniment.  The bass doesn’t add a lit of melody to the violin work, but it adds a very cool feeling of grounding and rhythm especially in “Berlin by Overnight.”  The piece feels very contemporary with a cool, fast, Glassian kind of repetitiveness.  And the bass adds occasional notes (that feel like rock bass notes, he plucks so hard) to keep the pace going.

The bass is much more pronounced on the familiar J.S. Bach: Air on a G String.  I feel an imperceptible sitting up straight once the first notes ring out of the violin.  But I keep coming back to the bass.  The violin melody is so pretty and so familiar that it’s interesting to listen to the way the bass plays off those notes.

[READ: February 9, 2018] “The Botch”

I have not enjoyed Means’ stories in the past.  They’re usually pretty violent and just not my thing.

This one was a bit more enjoyable until the end.  The only problem with it per se was that it was about a bank robbery and I feel like there’s not much you can say about a bank robbery that hasn’t been said in films and stories already.

But there’s some interesting tweaks.  It is set around the Great Depression–tommy guns and wise guys.  And the mastermind behind the scheme has thought out everything ahead of time.  There is a repeated refrain of “the idea is” which I kind of liked.  Although for some reason it bugged me when it was switched to just “idea being,” which I know is how it would be said, but it bristled. (more…)

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SOUNDTRACK: BAUHAUS-“Bela Lugosi’s Dead” (1979).

This was Bauhaus’ first single–a nine minute ode to being undead.  It’s considered the foundation of Goth music.

“Bela Lugosi’s Dead” starts with noises and feedback–echoing guitar scratches and atmospherics.

After about a minute and a half the simple three note bass line begins–slow and menacing.

Another minute later the vocals begin–Peter Murphy’s low voice reciting the lyrics.

White on white translucent black capes
Back on the rack
Bela Lugosi’s dead
The bats have left the bell tower
The victims have been bled
Red velvet lines the black box
Bela Lugosi’s dead
Undead undead undead

The guitars are primarily high notes as the chords change and for a brief moment in the chorus, the three-note melody goes up in stead of down.

The remainder of the lyrics:

The virginal brides file past his tomb
Strewn with time’s dead flowers
Bereft in deathly bloom
Alone in a darkened room
The count
Bela Lugosi’s dead
Undead undead undead

Around five-minutes the song quiets down to just drums and echoing scratched guitars.  Around seven minutes, Murphy starts wailing “Bela’s undead.”  The last minute or so returns to the beginning with echoed guitars sounds and scratches.

Lo-fi creepiness.

[READ: October 29, 2018] “Uncle Tuggs”

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

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

The Ghost Box returns, like a mummy or a batman, to once again make your pupils dilate and the hair on your arms stand straight up—it’s another collection of individually bound scary stories, edited and introduced by comedian and spooky specialist Patton Oswalt.

There is no explicit “order” to these books; however, Patton Oswalt will be reviewing a book a day on his Facebook page.

Much respect to Oswalt, but I will not be following his order.  So there. (more…)

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[LISTENED TO: August 2018] Tuck Everlasting

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

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

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

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

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

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SOUNDTRACK: BASIA BULAT-Live at Massey Hall (July 10, 2014).

Baia Bulat is an adorable singer.  She plays autoharp and ukulele and seems incredibly upbeat.  She also has a soaring, delightful voice.

About Massey Hall she says, “It’s not a stadium or a club, it feels huge and intimate ta the same time.”

She opens with “Run” in which she plays the autoharp (and you can actually hear it amid the other instruments).

Next up is a new song “Five, Four” with Basia on guitar with a cool almost sinister bass line.

For “Wires,” she stays on guitar.  This song is almost aggressively upbeat and is much more upbeat.  It also has a fun middle section in which she sings an Ooooh melody  (like a solo) into a microphone with a distortion that makes it sound a bit like a kazoo. Its super catchy.  She even takes that microphone and walks around, ultimately hopping of the stage and sitting in the front row (and the guy next to her of course pulls out his phone) to continue with the oohs.

“Tall Tall Shadow” is a slow moodier song with a great big chorus. They leave the stage and come back (I’m surprised they left in the whole encore scene).

When they comeback she says, “We’re on a curfew so we’re going to try to not get in trouble.”  For an encore it’s her and two other women.  One is playing a small 8-string ukulele as they sing “Before I Knew.”

When it’s over she asks, Am I allowed to sneak one more in?  Try not to get kicked out of Massey Hall!  She gets out the ukulele and plays that wonderful melody of “It Can’t Be You.”  Then she walks away from the mic and sings her heart out.  You can’t always hear her that clearly, but you can hear her hitting the soaring notes.

It’s funny that she worries about curfew and then sings a rather long song.

But it’s a great collection of songs and a beautiful set.

[READ: March 15, 2018] Beautiful Music for Ugly Children

I really enjoyed Kristin Cronn-Mills’ book Ugly Fake which was kind of novel/graphic novel hybrid.  This is one of her earlier stories and it is all novel.  It is about music and teen angst and high school.

And it’s about a girl named Elizabeth who is in fact a boy and wants to be known as Gabe.  He has recently revealed this to his parents and his best friend, Paige.  Paige has been nothing but supportive.  His parents are a little more mixed about it.  And of course he hasn’t told anyone at school.  But since he dresses gender-neutral he has always been made fun of a school–where they know that he is Elizabeth.  He is somewhat surprised that the boys make fun of him more than the girls–calling him he-she-it.  Undoubtedly they are threatened by his looks.

But he is a senior, and school is almost over.  He can certainly cope until it’s time to move away to the city.

In the mean time, he has a DJ gig that is the best thing ever. (more…)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Laughing Heart

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

[READ: March 5, 2018] Head Games

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

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

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

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

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

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[LISTENED TO: September 2017] The Hitchhiker’s Guide to the Galaxy complete radio series

The history of the Hitchhiker’s Guide to the Galaxy is almost as convoluted as the story itself.

Douglas Adams (with help from John Lloyd) wrote the radio story in 1977.  It aired in 1978.  A second season aired in 1980.

Adams wrote the novel based on the radio series in 1979.  And then the second book The Restaurant at the End of the Universe in 1980.

Then they made the TV show.

Apparently Adams considered writing a third radio series to be based on Life, the Universe and Everything in 1993, but the project did not begin until after his death in 2001.  The third, fourth and fifth radio series were based on Life, So Long, and Thanks for All the Fish and Mostly Harmless which were transmitted in 2004 and 2005.

It’s interesting and a little disconcerting how different the radio play is from the story of the book. There are a lot of similarities of course, but some very large differences.

The first series obviously leaves a lot out from the book, since the book wasn’t written yet. (more…)

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[LISTENED TO: Summer 2017] Middle School: The Worst Years of My Life

I might be one of the few people in America to have never read anything by James Patterson.  Well, C. really enjoyed this series (and his other books for young readers) so we decided to listen to this on a car ride. (Both kids had seen the film already, although I hadn’t).

I have to say that right off the bat I was turned off by the introduction of this book because there was this hard rocking guitar that they played through about 3 minutes of opening text.  And it was too loud!  It was really hard to hear the narrator.  I kind of tuned out because I feared that the whole book would feature this (it doesn’t).  And while I won’t say I was confused by what I missed, I did wonder if I’d missed some things that were revealed later (also, some of the main character’s motivation).

Rafe Khatchadorian is starting Hills Village Middle School.  It’s a new school (sixth grade).  Rafe seems to have a hard to succeeding in school in general.  There’s also a lot going on at home.  His mom has been dating a jerk named Bear.  Bear is unemployed, and living with them while Rafe’s mom is working two jobs and is hardly ever home.

The only person who seems to help Rafe cope with things is his friend Leo the Silent.  Leo doesn’t talk much, but he is an awesome artist.  And he also encourages Rafe to do things that maybe he shouldn’t.

When Rafe arrives at school, he is given a rule book with over 100 rules that he must follow.  Given the possibility of hanging out, being good and following the rules or having fun and enjoying school, he and Leo make a choice.  And they come up with “Operation R.A.F.E.” (which stands for Rules Aren’t For Everyone).  The operation is set up like a video game.  Rafe is going to try to break every rule in the handbook. Leo will award him points.  But he will also only have three “lives,” which he will lose if he gets caught or otherwise fails in his quest. (more…)

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