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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 4 of 10, The Horseshoe Tavern, Toronto (December 11, 2005).

This series contains the final Rheostatics live shows that are left to write about.  This was the 4th night of their 10 night Fall Nationals run at the Horseshoe–(All ages Sunday afternoon set). Ford Pier was on keyboards.  And once again Dave’s daughter Cece sings a song.

Recording starts at the end of Home Again – not sure what was played prior.  Given the length and set list they probably didn’t play much before “Home Again” but we only hear the end of it anyway.

All ages shows are typically shorter. But with having no beginning, this one is really short at just over an hour and a quarter.

“It’s Easy To Be With You” starts with an unexpected bluesy riff underneath the song before it starts properly.  It’s followed by a nice “Loving Arms.”

Then you hear Cece ask, “Dad, is it my turn, yet?” “No.”  “Awwwwww.  How many more song?”  “4 more.”

“Aliens (Christmas 1988)” (not kid friendly, actually).  But mid-song Dave starts playing the “When Winter Comes” during the quiet part, but they never leave the song.

Then Dave says, “We have to do this next one because we’re playing it at guest vocalist night.”  “Many words.”  Martin: “Good luck, Timmy.”  Mike counts out 7 but nobody follows through.  Tim: “So far, not so good.”  They make it through “The Woods Are Full Of Cuckoos” and Tim says, “I can’t believe all those words are in my head.  It’s a weird feeling.”  Dave: “Yea, you said you wouldn’t remember the second verse and you did.”  Martin: “Here’s a request for “The Wreck of the Edmund Fitzgerald.”  “Shhhhhhh”  Tim: “Speaking of many words in your head.”  Dave: “And that request will go unfulfilled.”  Mike: “If anyone is going to make that request they have to make cue cards.”  Dave says, “We did it well at The Boot.”  Mike: “I had a fever, I can’t remember.  101 a rock n roll fever.  Dave: “I think the rock n’ roll fever is 102.  I’m just quoting Foreigner.”  Mike: “It’s 103 with Foreigner.  Check it and see / got a fever of 102?  I don’t think so, Dave.”  “103 that’s like malaria.”

We’re going to do a new song of Tim’s that we have been learning in advance of a record that we hope will some day get made.  After we rest on our laurels for the next 8 months.  Whatever laurels are.  Tim: “they’re like chaise lounges?”  Martin: “Or are they like haunches?”

Tim starts “Sunshine At Night” then stops.  “Ford is building something back there.  Ford: ” No I’ll catch up.”  Dave: Ford is just finishing his Chinese food from last night.”  Martin: “And building an amplifier.”  Mike: “What can’t he do?”

After the sweet “Sunshine” they play a cool “Christopher.”  The middle sections slows down quite a bit and then bursts forth loudly with the drums (I hope they had earplugs for the kids).  It’s followed by a lovely “Little Bird, Little Bird.”

Then Dave lays out the schedule for the next few days:

A wonderful week planned:
Tuesday its free.  That’s wonderful for you and… okay… for us.
Wednesday is the Whale Music album with many guests
Thursday is guest vocalist night with about 14 people singing–we give about 43 percent.  That’s not free.
And then the weekend is the last two licks so we all go crazy.  Paint our faces (not really).
And we have a hockey game on Thursday at 4 o’clock.   4 bucks to play.  Sticks and skates.  There’s a sign up card.

Then Cece asks, “Dad, is it my turn?”  After a sweet “Making Progress” it is finally Cece’s turn.

She is quite excited and yells “Perfect!” right into the mic.  She calls all the kids up on stage and then says you sing the song with me…that’d be even better.  You hear someone says “I wanna sing in the microphone.”  She says “After me!”  And then she sings a great “Everyday People.”  The whole song is fun.  And at the end Dave says, “we gotta teach you to throw to the guitar solo.”

Dave starts “Bread, Meat, Peas and Rice” and then realizes, “Hey, the same chords as ‘Everyday People,’ only faster.  At the end he notes, “Everybody has fun when the bongos come out and then half an hour later nobody’s having fun.  It’s the overstay-its-welcome instrument.”  Mike asks if they were expensive and Dave says they are the real things, I think they were like $150.

Martin says “next is a song about being lost in the wilderness.  And it’s called “Personal Identification Number” for some reason.  Dave asks if it was supposed to be a longer title and Martin says, “My publicist said the name was too long so I shortened it.”  Then he says, “This is a tenor guitar.  It’s got 4 strings.”  He starts singing “my guts, my guts, my ooey gooey guts” which Mike picks up on and sing “The ones in the back and the ones in the front.”

Martin finishes with a really fast solo.  He says, “that was very 2112.  But small.”  Dave:  “like point 2112.”  Mike: “It tastes like Rush but doesn’t get you drunk.”

They move on to “Four Little Songs.”  Dave asks if Max is here, but he has left. When they get to the third section, Dave says it’s traditional for Ford or someone else to do that slot.  But he wants to know if there’s anyone out there who has a song that must be sung?  At the back of the room?  It’s the wallflowers who have the most significant musical contribution.”  Mike; “It’s a die Fledermaus moment.”

They call Max over, not sure who Max is or if he even comes, but they play a jam, with Dave saying “it’s Max, ‘it’s not Max.”  When they get to the end Dave says, “Hold on, we need a new ending.  We have three: By Mennen, the two yells, and the Yes!”  Mike says “by Mennen is usually editorializing”  and that he’s been with the band for almost five years and he;s never done “Yes!”  So they demonstrate. Mike says, “this is like a DVD where you can choose the ending.”  Dave says, the new ending is the discussion of the ending.

And then Ford suggests that the new ending could be “like a zinger on The Muppet Show (wah wah).”  Cookie Monster ate all the cookies.  Bert will you ever win?

Dave says, “A couple more songs.” Martin: “and then the clowns.”

So Dave tells a story “When I was in Moscow there as an Americana diner and there was a security guard who looked like Captain Kangaroo expect he carried a gun.  Every Wednesday he was to dress like a clown.  So they have clown security in the American diner which tells you everything you need to know about the coming together of the United States and Russia.  Then Ford says, “And Australia…kangaroo.”

Dave: “Captain Kangaroo had never been within 15,000 miles of a kangaroo in his life.”

They play two final songs.  Dave: “Remember kids, only steal a car if you really have to.  And be careful when you invest in the Steinberger product, it’s hit and miss.”

They play a terrific “Stolen Car” and then surprisingly, given that this is an all-ages show, end with “Horses.”  “Horses” opens with a very different intro than usual, it sounds pretty cool.  The song rocks, but Dave doesn’t do any crazy ranting.  At the end, Martin does the horse sound with his guitar and some one says “whoah woah, horsey.”

[READ: July 9, 2017] The Big Bad Fox

First Second continues to publish first class French graphic novels and children’s books (this one translated by Joe Johnson).

This is a children’s book, but it is quite long.  It’s not hard to read by any means, but it’s a not a quicky 32 page picture book.

It’s possible that this was originally released as a series–there does seem to be a kind of punch line every few pages, but the story is consistent and quite funny (even if it’s not all that original). (more…)

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SOUNDTRACK: THE FLAMING LIPS-Christmas on Mars (2008).

Title aside, and despite the Lips’ love of Christmas, there is nothing Christmassey about this recording.

It’s a soundtrack to their film and it is composed of 12 instrumental pieces.  The disc (which is short) sounds like interstitial Flaming Lips pieces–songs that might appear at the end of or in between songs.

The tracks run the gamut from spooky outerspacey dirges to pretty choral numbers.  But the overall tone of the soundtrack is dark and foreboding (the movie isn’t very happy after all).

Some of the tracks (3 and 4 in particular) are prettier than other–with pretty harps and tubular bells.  But do not put this in your Christmas music rotation unless you really dislike Christmas music.

[READ: June 21, 2017] Adios, Cowboy

Hot on the heels of the depressing Sorry to Disrupt the Peace come this depressing story by Olja Savičević Ivančević (her full name according to Goodreads) translated from Croatian by Celia Hawkesworth.  In Peace, the narrator’s brother killed himself and the narrator wants to find out why.  In Adios, Cowboy, the narrator’s brother kills himself and she want to find out why.

The difference is that this book is set in Croatia, has multiple characters, multiple stories and a huge amount of confusion.

Dada (the narrator) lives in Zagreb, but she is called home to Old Settlement by her sister to help with their aging mother.  She is intrigued at the thought of going home  again after so many years.  But when she gets there, her mother has been taking all kinds of pills, her sister has pretty much given up as evidenced by her chain-smoking, their long-dead father’s shoes still lined up on the steps, and their dead younger brother’s cowboy posters of are still on the walls.  (The dead brother’s name is Daniel.  The fact that one of the characters in the previous book also about the suicide was also named Daniel really didn’t help this much). (more…)

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SOUNDTRACK: OK GO-Tiny Desk Concert #278 (June 3, 2013).

I love OK Go’s music videos.  They are stupendous. I have watched all of them several times.  And yet I can’t remember a single song.  But that doesn’t diminish my appreciation for them.

When NPR was moving offices, they made a “Tiny Desk Concert” of the band proceeding from their old location to the new one.  And in OK Go fashion, they made a great video to go with it.  The music is live (I believe), even though they must have shot the footage hundreds of times.  It’s sort of a stop motion video, except that it’s not single frames but short 2 second clips spliced together.

You can watch as the old office is dismantled, as they walk through the halls to the moving truck.   As they play on the truck in the streets of D.C. and then as they enter the new building.  There are cameos from NPR colleagues: Ari Shapiro, Audie Cornish, David Greene, Guy Raz, Scott Simon, Alix Spiegel, Susan Stamberg and more.  There’s a hilarious moment with Karl Kassel who gives them a dirty look.  And then they march through the offices, the news room and into the new Tiny Desk location where they finish the song.

The song is fun and catchy and even has new lyrics that reference the NPR move.  It has to be seen to be appreciated.

And if you like figures here are some details from the shoot:

  • Number of video takes: 223
  • Number of seconds Carl Kasell spent in the elevator with OK Go: 98
  • Number of times Ari Shapiro played the tubular bells: 15
  • Number of days it took to shoot: 2
  • Number of cameras: 1

Incidentally, NPR and I are out of sync with our counting of Tiny Desk Concerts.  I can’t figure out what happened.  The reason mine is correct is because I have written down every concert and numbered them.  So I feel that for them one doesn’t count?  They say this was number 277.  Someday they’ll read this and we’ll get to the  bottom of everything.

[READ: April 1, 2016] No Mercy Vol. 1

Because of the way books are being handled at my work now, I don’t get to see as many books as I used to. So i was pretty delighted to get this graphic novel on my desk.  Even if I didn’t quite know what it was about, I wanted to read it.  And boy did I enjoy it.

I had no idea that the cast was a group of aspiring Princeton University students on a per-freshman trip to an underprivileged county (I like the t-shirts that say Building Bridges Helping Hands with a kinda Princeton P on the front.

We meet the cast in a cool way–each one steeping forward a bit in the crowd and giving a bit of information about themselves…mostly through text messages. Oh and I loved the way the opening colophon pages looked just like Facebook (or whatever) with a timeline photo and then on the right side–sponsored images with drawings of the author and the illustrators and an ad for an other Image comic by Alex de Campi called Valentine–genius layout idea.

There’s also a comment under the photo which says “OMG how sad, they were also young.”  So you know something bad is going to happen these poor kids. (more…)

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fableSOUNDTRACK: CALLmeKAT-Tiny Desk Concert #152 (August 29, 2011).

callmekatKatrine Ottosen is CALLmeKAT and she is from Copenhagen.  I’m unclear what her sound normally is–if it’s fuller than it is here–but for this show, it’s her on a couple of synths and a drummer.

I like the interesting synth sound she gets in the beginning of “Tigerhead,” but, despite the two synths, the whole song feels a little thin to me. Nevertheless, she hits some admirable high notes.

She wrote the second song, “Going Home” at Newark airport—she says always miserable there, it’s “so depressing” (no argument there).  She samples herself on a tiny keyboard (Bob asks her what she’s doing singing into the tiny Casio–this has to have been before everyone was looping everything).  The song is very pretty but feels very slight again–even more so because there is no percussion.

The third song, “Glass Walls” also has a sample of her voice–the sample is just an “ooooooh” note.  She says she wrote this one in the Copenhagen airport (which must be nicer than Newark)  This song is a bit more robust.

I liked her voice but the whole show I wanted a bit more oomph, which is not a typical reaction from a Tiny Desk where I know things are usually stripped down somewhat.

[READ: February 15, 2016] Fable Comics

Following up on First Second’s 2011 collection of Nursery Rhyme Comics, comes this new collection of Fable Comics, also edited by Chris Duffy.

Duffy says that for this collection they wanted to use mostly Aesop’s fables (because they are the most widely knows).  But the book also includes a sampling from other traditions.  He says that cartoonist were allowed to embellish the stories but we asked that the lesson remained.

And so there are 28 fables and the artists are pretty much a who’s who of contemporary comics.  I’ve broken down the Fables by their creators:

Aesop

The Fox and the Grapes-James Kochalka modernizes this a bit with a jet pack, which is hilarious.

The Town Mouse and the Country Mouse-Tom Gauld is back, and it’s great to see his work as he keeps the story fairly traditional

Hermes and the Man Who Was Bitten by an Ant ; Hermes and the Woodsman ; The Frogs Who Desired a King ; Hermes and the Sculptor. George O’Connor is responsible for the First Second Olympians series, so it’s no surprise that he tackles these stories about Hermes.  He remains faithful to the original and keeps up his very cool drawing style.

The Belly and the Body Members–Charise Harper has a wonderfully stylized look for this story about how the body parts need to work together or it can’t do anything.

Lion +Mouse–R. Sikoryak’s Mad Magazine style works very well for this familiar story about a mouse helping a lion (he has modified it somewhat of course).

Fox and Crow-Jennifer L. Meyer’s style is gorgeous.  This fable has a fantastic look to it with pale colors and circles of details.  I could look at it for hours.

The Old Man and Death–Eleanor Davis’s art is boxey and stark.  It works very well with this dark and Communist-looking story.

The Boy Who Cried Wolf–Jaime Hernandez.  I love when Hernandez does kids’ stoires because his characters are so perfectly cartoon and his colors are bright and fun.  His telling of this story is very good.

The Crow and the Pitcher–Simone Lia  I didn’t know this fable.  And I don’t really know how the beginning sets up the end. It shows crow as being very smart for others but the end has the crow being extremely smart for himself.   It’s a weird fable although it rings rather true.

The Dog and His Reflection–Graham Chafee does an awesome job of showing greed in others and leaving the dog’s story to be un-narrated.  He witnesses greed and acts accordingly.

The Dolphins, The Whales and the Sprat–Maris Wicks.  I was completely unfamiliar with this fable.  I’m also curious about how much Wicks has added.  I love that she adds some very funny factual details like that dolphins are actually a type of whale and that there are detailed asides about all of the animals throughout this story.  The moral is that they’d rather die than take advice from a sprat.  Still true today.

The Milkmaid and Her Pail–Israel Sanchez  This fable was also unfamiliar.  Sanchez’ drawings are stark and work well to tell this story of greed.

The Great Weasel War–Ulises Farinas.  This comes from a longer fable called The Mice and the Weasels.  I love Farinas’ art in this story.  The colors are spectacular and the creatures are great   And I love the moral is that they build these giant machines that cannot fight against nature.

The Sun and the Wind–R.O. Blechman. This fable was in Ava and Pip, so its funny to read it there and then see it here. Blechman’s simple drawings complement the story well.

The Hare and the Tortoise–Graham Annable’s art is great for this.  The tortoise is so crabby looking.  I’m unfamiliar with the deus ex machina that happens though.  It’s funny how many of these fables we may know without knowing them in total.

The Grasshopper and the Ants–John Kerschbaum’s art is so busy and full of detail, it’s really wonderful.  I’m unfamiliar with the ants asking the grasshopper to play for them at the end of the story tough.

The Thief and the Watchdog–Braden Lamb & Shelli Paroline. I really enjoyed the way these two created this fable.  The art is great–angular and simple but really powerful.  Having the dog explain why giving him meat won’t work is a great idea.

Demandes and His Fable–Roger Langridge.   I love Langridge’s clear lines and distinctive colors. He tries to get people’s attention and only succeeds by telling them a fable about Demandes.  I’m intrigued that his fable gets interrupted by himself.

The rest of the fables’ origins are mentions in parentheses after the title:

Leopard Drums Up Dinner (Angolan Fable)–Sophie Goldstein makes a fun visual of this story about animals trying to capture others with music.  I wonder how closely this aligns to the original, as its pretty crazy.

The Hare and the Pig (Indian Fable)–Vera Brosgol.  I didn’t know this fable at all.  Rabbit and Pig are arguing about who is best.  Leave it to fox to make the declaration.

The Demon, The Thief and the Hermit (Bidpai)–Keny Widjaja illustrates this amusing tale of a thief trying to join with a demon to rob a hermit

The Elephant in Favor (by Ivan Krilov)–Corinne Mucha.  I love that Corine modernizes the fable (the lion says Dude).  This is all about how everyone talks about the elephant.  He works slow but gets a raise. What makes him so great?  All the other animals speculate.  But it turns out that his ears are the real reason–for reasons other than the obvious.  This may be my favorite fable of all.

The Mouse Council (medieval European fable)–Liniers. This is the story of putting a bell on a cat and how no one wants to risk their life for the good of all.  Liniers’ art is spectacular.  I love the subtle shading of his drawings and then the rough drawings by the mice.

Man and Wart (Ambrose Bierce)–Mark Newgarden.  I love Ambrose Bierce but had no idea he wrote fables.  This one about people’s need for privacy and not belonging to a club is pretty strange.

The Hen and the Mountain Turtle (Chinese Fable)–Gregory Benton. I was unfamiliar with this story about a wise turtle saving a farm.

These collections of short pieces are quite wonderful. I wonder what genre First Second will tackle next.  #10yearsof01

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augSOUNDTRACK: GAELYNN LEA-Tiny Desk Concert #514 (March 11, 2016).

graeGaelynn Lea won the Tiny Desk Contest and within a few days she was ready to appear for her formal Tiny Desk Concert.

She began her set with the prize winner, “Someday We’ll Linger In The Sun.”  The song was beautiful and haunting in the video, and it sounded just as good live.  She joked that with a loop pedal you have to be perfect, and it was.  Watching her play these notes is even more interesting than hearing them.

Gaelynn is clearly a little nervous, but she is still charming as she tells us how she got started in the music world.  She started fiddling because she had a crush on a boy who fiddled.  Simple as that.  She had been in a number of bands in Minnesota.  Then someone gave her a looping pedal and that changed everything for her.

She says that she began experimenting with the old and the new, and that the looping pedal allowed her to do things like play “Southwind.”  The song is 100 years old.  She loops a beautiful melody and then plays an excellent solo over the top it.  I think there’s something about the way she plays–her bowing seems to make her violin sound more like a cello or something–that makes her notes sound more haunting than another violinist might.

After the first two songs, Bob comes out to introduce Gaelynn.  He explains that she is a violin teacher and she has been playing for years and years.  And then he explains that she’s going to have accompaniment for the next two songs–Alan Sparhawk from Low!

Here’s how they met.  Gaelynn was playing at a farmer’s market with a guitar player.  Alan Sparhwawk who is also based in Duluth, MN, heard her playing.  Some time later, he called her (while she was at a wedding) and asked if she’d want to work on a project with him.  They made musis for a silent film and then formed the band The Murder of Crows.

And so Alan joins her for the last two songs.

“Bird” is an upbeat song with a lively lopped violin riff.  Alan plays slow guitars which flesh out the low end.  And then Gaelynn sings as the violin loops and Alan plays low notes.  Alan takes the second verse and then Gaelynn sings a round over the top of his voice.  It’s quite lovely.

She says she never wrote any songs until she met him, and she’s very grateful.

The final song is “Moment of Bliss.”  I really like the melody and vocal line of this song.  And again, the lyrics are really thoughtful.  Sparhawk’s slow guitar and low harmony voice really add depth to this lovely five minute song.  When she plays a looped solo at the end, it’s really beautiful.

[READ: January 25, 2016] “Leap Day”

I don’t think I’ve read too many stories where the plot of a movie is as instrumental to the story as it was in this one.

And when I say that that movie is Brokeback Mountain, it gives you a ton of context clues.

The story is a simple one.  Ernie Boettner is climbing up a grain silo in February.  And then we find out why.

Ernie is a farmer.  The townspeople of Park City, Illinois noticed that he seemed to get a lot of visits from the veterinarian Chester Bradbury.  There was nothing wrong with that per se, but it seemed like sometimes the vet’s truck was there over night.  Which seemed unusual. (more…)

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CoverStory-2-22-16-879x1200-1455509711 SOUNDTRACK: JULIEN BAKER-Tiny Desk Concert #513 (March 7, 2016).

julienI had never heard of Julien Baker before this Tiny Desk Concert.  Indeed, she looks young enough that perhaps this is her first concert (it isn’t).

Baker plays a lovely, slightly echoey, but otherwise very clear electric guitar.  Her tone is so clear and quiet.  And her voice is also incredibly delicate.  Watching her play and sing it’s amazing you can hear anything at all, and yet she does not wilt in any way–her music is delicate but not whispered.

As with many players these days, she uses a looping pedal to great effect.  For the first song, “Sprained Ankle” she loops the lovely harmonics at the beginning of the song and then allows for the multiple layers to play.  Her vocals are as gentle as the harmonics, and yet, again, not whispery.  At barely 2 minutes, the song leaves you wanting more.

She talks about doing a new song for them called “Sad Song #11” since “I already have ten sad songs.”  She thanks everyone for their “courteous laughter.”  And then plays another beautiful song now officially titled, “Funeral Pyre.”  She has a very nice way with words: “Ash for a decorative urn you keep on your mantelpiece like a trophy for everything.”  There’s a beautiful layered guitar solo at the end too.

The introductory guitar lines from “Something” are really lovely–her sound is just so clear–and once again, the song is beautiful and haunting with her repeated lyrics sounding more powerful with each go around.

The blurb about the show references Torres, and I totally see the deference.  They don’t sound anything alike in that Torres is brash and loud, but they have that same up-close and intimate vibe.  For Baker, it makes you want to lean is as she sings.

[READ: February 17, 2016] “sine cosine tangent”

I have always meant to read more from DeLillo, I just never do.

And while I have enjoyed all of the things I have read by him, I didn’t love this story so much.  Okay, I’ve since found out that this is an excerpt, which changes things.  I’ll keep my review the same but with bracketed realizations pertaining to the novel.

This is the story of a young man (his age in the story is unclear to me, and I’m not sure how much distance separates the present from the past [presumably this is covered in the novel]) and his relationship with his father.  His father is a successful businessman but the son says that he “shaved a strip of hair along the middle of my head, front to back, I was his personal Antichrist.”

His father left when he was 13, although he never found out why.  Years later, he sees his father, Mr Ross Lockhart on the TV, discussing the ecology of unemployment in Geneva. (more…)

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1252016SOUNDTRACK: BRUSHY ONE STRING-Tiny Desk Concert #510 (February 27, 2016).

brushyAlthough I don’t know where the “Brushy” part comes from, the “One String” part of Brushy One String’s name comes from the fact that he plays a guitar with one string.  A low E string.

Obviously, then, the songs are pretty simple.  Most of them are just one or two notes.  They are more or less bluesy and the main selling point of his music is his voice.

“Destiny” is the first song. I really like the middle of it where he scats in a cool accented…something.  The song begins as a fairly simple blues riff with Brushy’s vocals.  But when he gets to the chorus, he does some great things with his voice to make it really powerful.

“Chicken in the Corn” is a YouTube sensation with nearly 9 million views.  It’s fast and wild.  This song has a bit more of percussive quality as he keeps a beat on the guitar while playing his one string.  This song also has a cool scat section and multiple single styles.  It’s pretty fun.

“No Man Stop Me” is a slow song.  It’s a spiritual song and it’s way too long.  There’s a lengthy recitation and a lot of repetition, and or a song this much, it’s just too much.

[READ: January 19, 2016] “Aspice”

This is a very short story (one page translated by Anya Migdal) that is all about making Aspic.

The narrator is a woman who dreads making the annual aspic for the holiday dinner. “It’s a special kind of religion, making the aspic.  It’s a yearly sacrifice though we don’t know to whom or for what.  For some reason it must be done.”

And then in first person present she talks about the steps involved. (more…)

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