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Archive for the ‘Swimming’ Category

SOUNDTRACK: AHI-Tiny Desk Concert #693 (January 16, 2018).

AHI is apparently, inexplicably pronounced “eye.”  He is an Ontario-based singer.  There’s nothing strikingly original about his sound, but his songs are pretty and thoughtful and his voice has a pleasing rough edge.

Bob says,

AHI’s gruff but sweet voice and openly honest words were my gateway to this young Ontario-based singer. AHI says he sings Sam Cooke’s “A Change Is Gonna Come,” at the end of every set with a sense of hope. It was powerfully moving, without a note that felt clichéd or overly nostalgic. At that moment, I knew he needed to play a Tiny Desk Concert.

With a tasteful band comprised of Frank Carter Rische on electric guitar, Robbie Crowell on bass guitar and Shawn Killaly (a man of a million faces) on drums, AHI put his heart into three songs in just about 11 minutes, all from his debut album We Made It Through The Wreckage, which came out a year ago this week.

“Alive Again” builds slowly, but by the time the chorus comes around and he adds some whoops, the song really moves. I’m quite intrigued at the constant soloing from guitarist Frank Carter Rische.  It’s virtually nonstop and really seems to propel the song along.  It’s a catchy and fun song the way each round seems to make the song bigger and bigger.

About “Closer (From a Distance)” he says, we all have relationships.  Some are good; some are bad and some are just awful.  You may care about someone with your whole heart only to realize that you care about that person more than they care about themselves.  No matter how strong you are your strengths may not be as strong as their weaknesses.  Sometimes the only way to save the relationship is to walk away–“maybe we’ll be closer from a distance.”   This is a really heartbreaking song.  The lyrics are clearly very personal and quite powerful.  And the soloing throughout the song is really quiet and beautiful.

“Ol’ Sweet Day” is bouncy and catchy with a propulsive acoustic guitar and lovely licks on the lead acoustic guitar.  The drums are fun on this song as Killaly plays the wall and uses his elbow to change the sound of the drum at the end of the song.

The burning question that is never addressed is way he is wearing a helmet –motorcycle? horse riding?  It stays on the whole time.  At one point he even seems to “tip” his hat.  How peculiar.

[READ: December 8, 2017] Glorious and or Free

The Beaverton is a satirical news source based in Canada.  It began as a website in 2010 and then added a TV Show in 2016 (now in its second season).  To celebrate 2017, the creators made this book.

They have divided the history of Canada into 13 sections.  As with many satirical history books, you can learn a lot about a country or a time from the kinds of jokes made.  Obviously the joke of each article is fake, but they are all based in something.  Historical figures are accurate and their stereotypes and broadsides certainly give a picture of the person.

Some of the humor is dependent upon knowing at least a little about the topic, but some of the other articles are just broadly funny whether you know anything about it or not.

When we made this book our goal was to transport readers back to grade school to remember what they were taught n Canadian history class.  And so what if your teacher was hungover most of the time?

~30,000 Years of History in About Four Page (3,200,000,000 BCE – 1496)

“What the hell is that?”  –God after forgetting he made beavers. (more…)

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SOUNDTRACK: CHASTITY BELT-I Used to Spend So Much Time Alone (2017).

Chastity Belt began as a kind of funny punk band with a message.

They have grown more sophisticated with each release.  And the humor has drifted away (except in their hilarious visuals), replaced by a kind of low-key, nonchalant attitude.

And with this album Chastity Belt exposes an unexpected vulnerability and a relatability.  Sure I miss songs like “Nip Slip,” but their song writing and playing has developed so much that I really love what they present now.

“Different Now” opens this third album with a very pretty lead guitar line–nothing too complex, but quite lovely.  And when Julia Shapiro starts singing, other things seem different now, too.  Her voice is gentle and her lyrics are even more thoughtful.  I love the way the two guitars intertwine later in the song and the main vocal melody of the song is really fun.

Lyrically the band still speaks about self empowerment:

You’ll find in time
All the answers that you seek
Have been sitting there just waiting to be seen
Take away your pride and take away your grief
And you’ll finally be right where you need to be

“This Time of Night” rocks a bit harder in the rhythm guitar but has a gentle echoing middle section.

Gretchen Grimm’s song “Stuck” is another highlight–a slow song that builds nicely with a catchy chorus and cool distorted guitar deep in the mix.  “Complain” has a catchy wooziness that sounds great too.  And they haven’t given up on feminism either:

I’ve had a drink and ate some stuff / Now I’m already bored / A couple of bros said some shit I’m choosing to ignore

Themes of being bored at parties abound in Chastity Belt songs.

“What the Hell” slows things down with an acoustic guitar as the main rhythm.  I love this lyric: “If I look at my phone again, I’ll just wanna die / Aside from that, I feel all right”

Its amusing to me that “Something Else also reflects on that phone: “But I got up on my own / And I looked at my phone / We’re all talking about nothing / I wanna do something cool / And I wanna get paid / And wake up feeling great every day”

“Used to Spend” starts slow and kind of dark and then tuns into a gauzy distorted middle section.

I love “5am” for the way the opening sounds like a long-lost Sonic Youth song–unexpected chords and intertwining guitars.  Even the delivery is not unlike Kim Gordon.  This song also has outro that is almost as long as the rest of the song.  It features some repeated guitars and some wailing feedback-filled soloing (more Sonic Youth again).   It’s a fantastic song.  And is a perfect album ender.

There are three bonus tracks.  Bonus tracks are kind of a mixed blessing in that they’re nice to have but they kind of ruin the natural arc of the record.  All three of them are kind of quiet and dreamy.  But it’s also a good opportunity for other members of the band to sing:

“Don’t Worry” is sung by Gretchen (when I saw them live she and Julia switched places for this song).  Lydia sings “Bender.”   And then Julia ends the disc with “I’m Fine.”  These are nice songs to add on, but do feel a bit more like bonus songs–or like songs from a gentler album.

I’m very curious to hear where the band goes next, as their skills improve and their feminism deepens.

Oh, and they are really fun live.

[READ: March 20, 2016] “1=1”

How strange that Anne Carson had fiction published in Harper’s and the New Yorker at the same time.

And they were both elliptical and hard to parse.

The story begins “She visits others. Before they’re up, dawn, she walks to the lake, listening to Bach, the first clavichord exercise, which she plans to have played at her funeral someday, has had this plan since she first heard the music and, thinking of it, she weeps lightly.”  That’s a sentence boyo.

So the first two paragraphs are about her swimming, the challenges of it, the intensity of it and apparently how the time in the water allows her to get into her own head.

Then her visit ends. (more…)

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SOUNDTRACK: THE NATIONAL-First Listen Live: The National, ‘Sleep Well Beast’ (September 5, 2017).

On August 17, Union Transfer sent out a message that World Café and NPR Music present a First Listen Live with The National on September 5 at that very club.  I wasn’t exactly sure what that meant–was the audience going to sit there and listen to the record together?  Was the band going to be there?  I assumed they would play it live, but who knew.  I also didn’t really love The National enough to find out.  I like them sure, but I don’t know that I would have gone to see them anyhow.

I have since grown to really love “The System Only Dreams in Total Darkness,” and while I probably couldn’t have gone to the show anyway (busy night) and it sold out pretty quickly anyhow, I was pretty glad that NPR has the show available for stream (right here).  The album sounds great and I was really delighted with how lighthearted singer Matt Berninger was and how good the band sounds.

I was also surprised by how piano-based these songs are.  Not that the band doesn’t have pianos in their songs, but I think of them as more guitar driven, while nearly every one of these songs is led by piano.  Since I don’t know all that much about the band, I also didn’t realize that in addition to Berninger, the rest of the band is two sets of brothers: guitar dueling by twins Aaron and Bryce Dessner and brothers Scott and Bryan Devendorf on bass and drums.

Since I wasn’t there, I’ll reply on Bob Boilen’s description of the show:

The concert began with a sharply dressed Matt Berninger comically mixing up his own lyrics as he sang, “You said we’re not so tied together, what did you mean? Meet me in the bathroom in a second, for a glass of gin,” instead of “meet me in the stairwell.”  It foreshadowed Matt’s frenetic performance throughout the night as he cast off that sport coat, rolled up his sleeves and led the band in a fun and inspired performance of these new songs. The show ended with Matt pitching his plastic cup full of clear liquid into the crowd in a frenzy of strobe light mania.

The group was joined throughout the night by Arone Dyer of Buke and Gase (who also sings on the new record), along with Ben Lanz on trombone and keyboard (and everything else), Kyle Resnick on trumpet, keys and backing vocals (and everything else).

Unlike recent record release parties that didn’t really feel like record release parties, this show was what I expected the other ones to be like–a band playing their new album front to back (in fairness the other three shows of this ilk were more indie in nature (and weren’t on the radio) so they could do what they wanted).  So indeed, the band played the album front to back (and went on around 8PM, sop they were done by 9:30, I’d guess).

As the show began, Berninger came out and in his deep voice said, “Hows it going,  hello.”  Someone shouted, “Play ‘Karen.'”  Berninger laughed and said, “it’s pronounced Kuh-RIN, come on.  How many time do I have to…”  (“Karen” is a song on their earlier album Alligator and “Carin at the Liquor Store” is a new song).

The album feels quite spare with minimal instrumentation, but the spaces are full of interesting music.  There’s a lot of piano on “Nobody Else Will Be There.”  At the end, as it says above he says, “I screwed up the first verse.  The first verse was wrong.  [mock angry] Do it again. [Laughs and says in a mock pissy voice] “We’re going to do everything again until it’s right.”

“Day I Die” has squeaky guitars and a funky bass.  Berninger after the song: Oops can I get a towel [pronounced towl].  Thanks a lot.  Next is ‘Walk It Back.’  Is there a towel anywhere?  I kind of walked it back into my drink.  Thanks, Ev.  Evan Middlesworth!  [cheers]  That’s all he does.  [singsong] Evan, you missed a spot.  [chuckles].  The song is spare with piano and a rather complex drum pattern.  The l vocals are almost recited.

Arone Dyer from Buke and Gass helped a lot on this record.  This is the person you hear at the beginning of this song. This is “The System Only Dreams [cheers] Wait!  I’m not done with the title yet [laughs].  This may be one of my favorite songs this year.  It sounds a bit different here–not bad, just live.  But by the end it totally rocks out.

“Born to Beg” is a slow ballad with some lovely backing vocals from Dyer.  After the song Berninger announces “Johnny Brenda’s tonight at 11: Buke and Gass.”  Now that;s a show I would have really liked to see.  Had I gotten tickets to The National, I would have hung around town and gone to Buke and Gass for sure.  Berninger mentions their symbiotic partnership: “punch the glove, touch the glove, you know what that means? hand in glove? Nevermind.”

“Turtleneck” roars out with 2 scorching guitars.  Berninger is practically screaming (as are the backing singers).  he is normally such a sedate singer that this comes across really powerfully.

“Empire Line” returns to that more moody style.  The song kind of smooths along on a rumbling guitar line.”

Berninger introduces the next song: “This is called ‘I’ll Still Destroy You’ … Did somebody boo?  The record’s not even out yet.  Someone went ‘oooo.'”  The song has a cool, complex drum rhythm with some nifty quiet parts and buzzy keys.  But the end gets bigger and louder with really powerful drums.

I love the glitchy opening sounds of “Guilty Party.”  The rest of the song is gentle piano and e-bow but the end builds with different instruments playing different spare sections around each other.  There’s also a cool guitar solo at the end.

One of the other guys in the band says “Thanks to NPR for doing this and thank you guys for coming out.  This is a good way for us to learn these songs… live on the radio.”  Berninger dedicates “Carin at the Liquor Store”:  “This is for Yoko.”  I wonder of that has to do with the chorus: “blame it on me. I really don’t care.  It’s a foregone conclusion.”

After the song he says: “Sorry, Scott, I fucked up your mic.  Hold on I gotta fix Scott’s microphone.  This is called ‘Dark Side of the Gym.’  A gymnasium in America is a multipurpose room where proms take place. In Europe they keep thinking it’s the dark side of the fitness club.  Some corner of the locker room Dark side of Equinox or something.”  This is a slower song with more piano.  “Arone Dyer is back.  Buke and Gass tonight, 11, Johnny Brenda’s.”  He sings the line “Hand in Glove” then says “Uh, never mind I almost told a story.”

The final song is “Sleep Well Beast” with more interesting electronic percussion and wavery synths.

The whole album sounds really good.  Mostly spare, but a few really rocking songs.  I’m now curious to hear if the album sounds like it.

It sounds like there’s an encore break.

When they come back: “Were going to play a few songs that are ten years old.  This is from Boxer.”  Introducing “Green Gloves” whoever is talking says “this is kind of a creepy song.”  Berninger agrees: “Don’t do any of the stuff in this song.”  There’s much more guitar.  It’s quite moody and sounds great.

“Apartment Story” is a bit more upbeat with fuzzy guitars that build and build over staccato drums.

Presumably that same guy from the beginning shouts, “Play Karen, please.”  But no, they play “Fake Empire” instead (I don’t think they heard him).  This is a piano-based song, but it builds and build and builds to a rocking climax.

The final song comes from High Violet.  “Terrible Love” totally rocks with big noisy guitars and drums crashing to an ending.  They practically scream “It takes an ocean not to… BREAK!” and the show ends with a crazy and wonderfully chaotic conclusion.

There audio just ends–no goodbyes or anything.  I assume the band didn’t hang around afterwards–there wer 1200 people there, after all .

On WXPN after the show, they played an interview: World Cafe host Talia Schlanger and I recently talked with Matt Berninger about how he and the band created their new album. Listen to that full interview here.

 

[READ: June 25, 2017] “Beneficence”

I am quite saddened to read that this is the final Lucky Peach issue that will see the light of day.  The magazine is going to retain an online presence, but there will be no more oversized, thick-papered profanely delicious quarterlies.  [Technically not true, there was one more final issue after this].

I am equally disappointed that the final story printed in this final issue is so irritating.

This story seems like it is a take on John Cheever’s “The Swimmer.”  That’s the overall vibe I get from the story.  If you don’t know that terrific story, a man drinks alcohol and swims through neighborhood backyard pools–and learns something along the way.

This had that same backyard neighborhood drinking feel to it.  But it was so overwhelmed by the phrase “A white person” that I was totally lost and distracted from any actually story. (more…)

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SOUNDTRACK: MAGGIE ROGERS-Tiny Desk Concert #642 (August 7, 2017).

I had been hearing Maggie Rogers’ name on WXPN and have liked “Alaska” which they’ve been playing.  But I didn’t know much else about her.

But reading the blurb reminded me of where I had initially heard of her:

Maggie Rogers became a viral star on the strength of a video in which Pharrell Williams raves about a demo of what’s become her signature song, “Alaska.” Since then, Rogers has signed a label deal, toured extensively and released a sweetly approachable, inventively arranged EP called Now That The Light Is Fading.

For her Tiny Desk debut, Rogers performed all three of the EP’s best-known songs, opening with the recent singles “On + Off” and “Dog Years,” the latter of which she calls “a song for all the pups.” Then, after dismissing her band, she treated us to a few warm words about public radio before introducing “Alaska.”

Maggie has an interesting voice that sounds similar to someone (it’ll come to me), but with a slight country twang.  It seems like she could easily fall into the country umbrella but her songwriting goes in a slightly different direction.  (I’m also astonished that she looks to be about 18).

She plays three songs (there are 5 on her EP),

“On+Off” starts with a piano intro and Maggie singing. When the middle section kicks in and she plays guitar there a much louder sound. It’s quite catchy.  I really like the delivery of the “Ooohs” that she adds.  There’s something about the way she does it that sounds very cool.

“Dog Years” is a slower, slightly more country-sounding song, but again the “ooohs” won me over.  This time the ooohs are harmonized by her band and it sounds even better.  She also demonstrated some wonderful high notes.

Her band leaves for the final song which she starts by telling everyone that “public radio has been a part of her musical discovery–since she used an NPR compilation to DJ her middle school recess.”  She’s very sweet.

Th final song is “Alaska” which she says is a song about coming back into your body.  It has a really pretty chorus–once again, her voice soaring to lovely high notes.  I prefer the recorded version to this solo version, but she sounds great by herself as well.

[READ: June 27, 2017] “Crossing the River No Name”

I was a little concerned about this story because it was set in Khost, Afghanistan and I thought it was going to be an intense war story–and war stories, like sports stories, pretty much end one of two ways.

So it begins on a rainy night in March 2009.  The narrator and his patrol are sent to interrupt a group of Taliban.  They reached a river and Hal, the leader, called on the best swimmers to swim across and set up the guide rope.  They made it across and secured the line.  The rest of the patrol got across but when it was the narrator and Hals’ turn they hit trouble.

Hal was afraid of the water.  He’d joined the Navy to get over that fear and it worked.  Most of the time.  He knew of one other example when Hal had had a brief freak out.  But this was the second one.  The river grew darker and they were pulled under. (more…)

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sahrakSOUNDTRACK: NO BS! BRASS BAND-Tiny Desk Concert #280 (June 15, 2013).

nobsWith a name like No BS! Brass Band, you think you know what you’re getting: brass and lots of it.  And while that is true, the Band goes way beyond what I anticipated a brass band would sound like (nothing like the far more traditional Canadian Brass for instance).

The blurb states:

Funky and danceable, the NO BS! Brass Band takes after the full black-music continuum you hear in groups like Rebirth or the Hot 8. But it’s also proggy, and a bit brutalizing, and full of pride in a different Southern outpost. The group’s new album is called RVA All Day, after all.  [I don’t know what that last line refers to].

Recently, Koehler, Pace and nine other musicians piled into a bus and journeyed up the freeway to NPR Music’s Tiny Desk in Washington, D.C. They blasted us with songs from the new album — it was so loud, you could hear the music on the other side of the building, a floor down.

The band includes:  Lance Koehler, drums ; Reggie Pace, trombone ; Bryan Hooten, trombone/vocals ; John Hulley, trombone ; Dillard Watt, bass trombone ; David Hood, alto saxophone ; Marcus Tenney, trumpet ; Sam Koff, trumpet ; Ben Court, trumpet ; Taylor Barnett, trumpet and Stefan Demetriadis, tuba.  And they play three super high energy largely instrumental songs that are obviously jazzy but which also have elements of the most fun marching band you’ve ever heard along with some rapping, some chanting and lots and lots of clapping.

The first song is all about “RVA All Day.”  And yet since that’s all they chant, I still don’t know what it means.   While the whole band plays loudly and powerfully, there’s a few solo moments as well.  First a trombone solo followed by a sax solo, then a trumpet and a super wild trombone solo (he gets some truly great, crazy sounds from that thing).  And then a huge surprise, midway through the song is a rap through a megaphone.

“Run Around” has a sing along to begin the song (and again, vocals through the megaphone).  It is also lively and a lot of fun.  The final song, “Infamous”sounds a lot more jazzy/big band.  It’s got a really nice groove.  The middle has a section with just tuba and trumpet where the rest of the band claps and shouts “Ho!” and it sounds great.  It’s also interesting watching how the different players “store” their instruments in different ways while clapping.

No BS! Brass band will totally make you wiggle your hips.

[READ: August 20, 2016] Shark Life

Clark had to pick a book for summer reading and he chose this one.  He enjoyed it so much, that he encouraged me to read it too.  And I’m really glad I did.  Although it wasn’t until writing this that I realized that this book was adapted for young people by Karen Wojtyla.  And yet I can’t find any mention of a grown up version of this book anywhere.  So who knows.

Anyhow,  Peter Benchley (who died in 2006) is the author of Jaws, and this book is full of stories of his life in and on the sea.  For, in addition to being an author, Benchley was a diver and explorer.  And his tales are both exciting and full of conservationist ideas.

The book opens in 1974. After the success of Jaws, Benchley had been invited to Australia to be on The American Sportsman.  He was going to be swimming in a cage with sharks feeding around him.  They put him in the cage, strapped all kinds of good food to it and left him there (okay they were close by).  But a few things went awry and suddenly things weren’t quite as safe as they could be. The shark got caught in Benchley’s air line and then panicked.  And a panicking shark is never a good thing. (more…)

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20SOUNDTRACK: ARTURO O’FARRILL-Tiny Desk Concert #303 (September 14, 2013).

arturo Arturo O’Farrill is not, as I expected, an Irish traditional musician.  He is, in fact, a Latin jazz pianist.  And the blurb states:

Latin jazz works best when the musicians involved are as fluent in Afro-Cuban rhythms as they are in the deep grooves and advanced harmonics of bebop. Arturo O’Farrill has that pedigree in his DNA: His father, Chico O’Farrill, was part of a groundbreaking group of musicians who created the mash-up of Afro-Cuban music and jazz back in late-’40s New York.

The octet you see in this video is a stripped-down version of the Afro Latin Jazz Orchestra, which is at least twice as large — don’t think I didn’t try to get the whole band behind Bob Boilen’s desk — and dedicated to both preserving the legacy of the elder O’Farrill and documenting the younger musician’s efforts to move the music forward.

The octet includes trombone, trumpet, sax, bongo, conga, drums, bass and of course, piano.  And they play three pieces (for quite a long set).

“In Whom…” has a good swinging feel with O’Farrill’s piano running wild.  At one point they cut to the conga player and the lady behind him is checking her phone (rudeness even in 2013!).  But it’s not all about the piano, there s sax solo and then a fairly lengthy bass solo.  Indeed there are many bass solo moments in this concert–Arturo certainly shares the spotlight.

The second song is “Compay Doug.”  He explains that “compay” means some who is not family but who is as close as family or maybe even closer.  The main melody has a cool fast/slow riff and then there’s another long bass solo.  There’s some great conga work in the middle of the song ( you can hear the percussionist use a rain stick, too).  Late in the song there a trumpet solo.  So even though this is ostensibly a pianist’s performance, there is much more–but don’t be fooled, his piano playing is intense!

The final song is called “Mass Incarceration Blues.” He says many years ago it was called “Blue State Blues,” then it became “Stop and Frisk Blues” and now it’s called “Mass Incarceration Blues.”  NPR’s Felix Contreras joins them (he ha so many cameos!).  There’s a super fast series of opening piano runs.  Then there’s a surprisingly fun (given the name) staccato melody and lots percussion.  And, as if to get everybody a moment to shine, this song includes a trombone solo, a sax solo and Felix even gets a conga solo.

[READ: July 5, 2016] Goes for the Gold

This book came out in time for the 2016 Summer Olympics, and Babymouse joins the swim team!

The book begins with her doing a fantastic dive (called the Reverse Messy Whisker Dive) only to wake up in her backyard kiddie pool.

Despite her fantasy of doing dramatic dives, she actually spends all of her time after school reading and eating cupcakes.  Her parents insist that she do something–join a team or whatever.  She chooses to join the school swim team, “The shrimps.”  She figures how hard can it be, “I mean, swimming’s not even a real sport.”

Well not when you wear the suit that Babymouse has on.  She is encouraged to wear a proper swimming suit and goggles and a cap (to much amusement of everyone).

But swimming proves to be hard–between trying to go straight, the way the chlorine dries out your fur and the whale living in her locker (Moby-Dick, anyone?), it’s more than just splashing in a pool.

Especially when we see the other team–actual sharks!  And is that a giant squid at  the bottom of the pool?

But The Shrimps are very good and when Felicia Furrypaws dismisses swimming as not even a real sport, Babymouse has second thoughts–or at least would rather stay up late eating cupcakes.  Will she feel guilty about letting her team down?  Of course, she will.

But what will she do about it?

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jean-jacques-sempe-the-new-yorker-cover-may-19-2008 SOUNDTRACK: IRENE DIAZ-Tiny Desk Concert #380 (August 9, 2014).

iremeVirtually no infomation is given about Diaz in the blurb for her Tiny Desk Concert.

“My Sweetest Sin” opens as a one minute acapella song before she sits down at the piano and is accompanied by Carolyn Cardoza strumming away intently on ukulele for “Crazy Love.”  Her voice sounds lovely by itself but it sounds even richer when accompanied by the spare instrumentation.

“Lover’s Sway” goes through several genres.  It opens with a jaunty showtune vibe and then slows down for the verses.  And then indeed it gets jaunty once again, in a very different way.

For the final song, “I Love You Madly” she switches to guitar.  She says it was her first love song because she used to write a lot of depressing songs.  This is a pretty, mellow song and she at times sounds a bit like a country singer and a bit like Natalie Merchant.  It’s a little too slow and long for my tastes, but it is very pretty.

Diaz is quite a talent with a nice range of styles.

[READ: February 24, 2016] “East Wind”

This is the story of Vernon, who had moved to an unspecified busy waterfront town just a few months earlier.  A recent spate of vandalism had caused some beach huts to be burned down.  The town was horrified, but he didn’t mind so much because it improved his view to the sea.

He is sitting in a restaurant, and when the waitress asks if he’s done he replies with the cryptic, “All the way from the Urals.” When the waitress is understandably confused he says that’s where the wind comes from.

The waitress, a strong-looking woman, pronounces it Oorals.  He assumes she is Eastern European, perhaps Polish.  He jokes with her that they should o for a swim.  She replies, no swim, although he hadn’t actually meant it.

He became a regular there.  And on another occasion he said to her that they should run away and live in a beach hut.  “I do not think,” she replied.  But then he asked her out and she said yes. (more…)

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