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Archive for November, 2020

César Aira–Ema, The Captive (1981) [translated 2016]

Posted in Argentina, Armenia, Babies, César Aira, Chris Andrews, Concubines, Coronavirus, Death, Homelessness, Pregnancy, Quarantine, Rape, Sex, Sexism, Tigran Hamasyan, Tiny Desk (Home) Concerts, Tiny Desk Concert, Violence, Yuck! on November 30, 2020| Leave a Comment »

SOUNDTRACK: TIGRAN HAMASYAN-Tiny Desk (Home) Concert #110 (November 11, 2020).

I have never heard of Armenian pianist Tigran Hamasyan.  I really enjoyed his solo pieces here and am somewhat surprised to read that he often plays with others.

The first piece,

“Road Song,” features a melody Hamasyan wrote in 2008, but recorded with a quintet on his imaginative 2013 album, Shadow Theater. He frequently plays a solo version of it live, but had never played it alone in a studio until now.

It starts quietly.  Then he begins whistling (!) which makes it even more haunting.  At around 4 minutes his  left hand rhythm remains slow and steady while his right hand flies all around the keyboard.  It’s wonderful.

That’s followed by “Our Film,” from Hamasyan’s latest and most enterprising release, The Call Within. This performance mirrors the intensity and sentimentality of the album version, but here it’s more intimate and fanciful.

It also has pretty, haunting melody (with more whistling).   It picks up the pace in the middle and gets almost frenetic (around 11 and a half minutes into the video) before settling down again.  It’s amazing how it all holds together with the more staid left hand.

The last tune, “A Fable,” is the title track of his 2011 solo album, which was inspired by 13th century Armenian writer Vardan Aygektsi.

This piece is flowing and a bit more upbeat.  He really gets into it and starts grunting at one point.

Hamasyan is a jazz pianist, but his foundation comes from Armenian folk music.  Perhaps that’s why i like this so much–it is very jazzy, but is grounded in traditional melodies.

[READ: November 30, 2020] “Ema, The Captive”

This is one of Aira’s earlier (and longer) stories.

I’m fascinated that his earlier stories seem to be grounded much more in reality–blood and gore–rather than fantastical ideas.  Although calling this story grounded in reality is a bit far fetched as well.

This is the story of Ema (at one point in the book it is mistyped as Emma) a woman who goes from being a concubine to running a successful business.  The story (translated by Chris Andrews) is broken into several smaller anecdotes as Ema’s life progresses.

But it starts out with no mention of Ema at all.

Indeed, the opening chapter is revolting. A wagon train carrying prisoners is heading across the Argentinian desert (set in the nineteenth century). (more…)

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Marc Nesbitt–“Gigantic” (New Yorker, July 9, 2001)

Posted in Baseball, Basketball, Coronavirus, Death, Drinking, Marc Nesbitt, New Yorker, Polo G., Quarantine, Short Story, Tiny Desk (Home) Concerts, Tiny Desk Concert, Yuck!, Zoos on November 29, 2020| Leave a Comment »

SOUNDTRACK: POLO G.-Tiny Desk (Home) Concert #106 (November 4, 2020).

I love that they play this Tiny Desk at a (socially distanced) basketball court.  The band are all wearing Lakers jerseys.

I love the live band in this set.  They are amazing and totally make the Concert worth hearing.

Polo G’s eyes are hidden behind his hair for the majority of his performance, but as he sings “I’m so sick of farewells and RIPs” on his latest single, “Epidemic,” it becomes clear that this 21-year-old Chicago emcee is going through a lot. I found it refreshing to hear a rapper normally backed by beats bare his “heart and soul” with a live band.

I had never heard of Polo G.

The man born Taurus Bartlett has achieved quite a bit for a relative newcomer in hip-hop. This summer he was selected for XXL’s popular Freshman Class cover. His second LP, The Goat, debuted at No. 2 on Billboard‘s Hot 200 and spawned two platinum-certified singles, including the braggadocious “Flex” that kicks off his Tiny Desk.

“Flex” is impressive for the virtually nonstop rapping that he does.  His delivery is fast and he never seems to come up for air.  There’s some soft echoing guitar throughout, although it never really changes.  But there’s a wild drum fill right at the end of the song.

Speaking of “heart and soul,” it amused me to hear him say he really put his heart and soul into this song, as if he doesn’t for the other ones.  And really, can’t you feel the heart and soul in lines like

Once you give my pussy up, it’s over with
Miss who you used to be, ’cause that’s who I was closer with
I’m in my bag, now I act like I don’t know the bitch

Before the final song he says that he was fortunate enough to play it with Bruce Hornsby.  “Wishing For A Hero” has the piano melody from “The Way It Is.”  He raps over it very quickly.  After his verse and chorus the backing singers (Shaunise Harris, Candice Boyd, Nava Morris) croon “the way it is” for a few more bars and then Polo G. walks off.

And that’s when the Concert really takes off!

The band jams for a bit, with a brief, thrashing drum solo from Vasjon Hill, followed by a little bass solo from Austin Cain and and some guitar shredding from Chris McCorkle.  When keyboardist Lamar Edwards gets his solo, it’s mixed a little too quietly  But they really jam out an have a good time.  I wish it was longer.  It’s almost a shame that polo G. is out there at all.

[READ: November 28, 2020] “Gigantic” 

This was one of those stories that seemed to try to turn me off right away.

It starts at a zoo.  But not a real zoo, more of a zoo behind the zoo, where the cast off animals go.  My understanding now is that zoos take good care of their animals (at least that’s what it seems).  Perhaps twenty years ago, near Camden Yards, things were different.

So the first page of the story is really gruesome and hard to read.  The narrator is named Fiddy, and he’s pretty awful.  But he’s not as bad as the guy who runs the zoo (Uncle Don) or the guy who works with Fiddy (Don’s nephew Dewey).  Dewey is the worst.  When Uncle Don has a complaint about something, Dewey blames Fiddy and Fiddy is fired. (more…)

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William Trevor–“A Bit on the Side” (New Yorker, October 29, 2001)

Posted in Coronavirus, Marriage Trouble, New Yorker, Quarantine, Sad13, Sex, Short Story, Speedy Ortiz, Tiny Desk (Home) Concerts, Tiny Desk Concert, William Trevor on November 28, 2020| Leave a Comment »

SOUNDTRACK: SAD13-Tiny Desk (Home) Concert #105 (October 30, 2020).

After yesterday’s Concert, this was an excellent palate cleanser.  Sad13 is basically Saude Dupuis of Speedy Ortiz.  Sadie is a fun and great frontwoman in Speedy, whose songs tend to rock.  For Sad13 she plays more synth and the songs are a bit quieter.

It was also fun to see bassist Audrey Zee Whitesides whom I have seen in many bands over the years playing on a Tiny Desk (and wearing rather convincing vampire fangs).

“We weren’t sure what to wear and the only thing we could agree on was devil costumes.” In a pink wig, blue horns and a purple cheerleading outfit, Sadie Dupuis brings a brightly ghoulish spirit to her Tiny Desk (home) concert, just in time for Halloween.

Drummer Zoë Brecher is also in costume–wearing a black cape and horns.

Sadie says “we are a coven of musical demons” and she hoped this would air around Halloween, but if not, haunted cosplay is “good for the whole month of October.  For 12 months a year.”  Plus it ties in with the new album.

Haunted Painting, her terrific new album as Sad13, is, in part, about metaphorical and literal ghosts: their weight and place in your life, but blasted with the sonic glee of a neon rainbow. While Dupuis’ guitar unmistakably squiggles with a vocal vibrato to match, Sad13’s pop sensibility differentiates from her other band, Speedy Ortiz; these sweet-and-sour songs explode with creative arrangements and nerdy production techniques.

I haven’t heard the record but I guess it sounds different from this Concert

Recording separately from their homes in Philly, New York and Stamford, Conn., Sad13 (featuring drummer Zoë Brecher and bassist Audrey Zee Whitesides) doesn’t so much slim down the wild details but finds different textures in these songs.

They open with “Oops…!” which has simple echoing guitar riffs and some fancy bass work from Audrey.  I love Audrey’s backing vocals when they sing opposite Sadie.  Sadie also throws in some waverly synth parts.

Between songs she says “they don’t make pink desks for adults so this is where I make music that I have to crouch over for and is giving me premature back pain.”

“Hysterical,” is up next.  Sadie moves to the organ for some cool synth lines.  Zoë sings backing vocals along with Audrey’s pumping bass line.  There’s terrific backing vox during the chorus, in particular.  The song

leans into a fuzzy space-age boogie, as Dupuis hooks up her Farfisa organ to an array of effects pedals, sounding like one of Joe Meek’s idiosyncratic productions from the 1960s.

“WTD?” (What’s The Drama?”) has a fun off kilter guitar riff and more killer playing from the band.

Sad13’s set ends with “Take Care,” a song that beautifully blossoms from grief. “It’s about caring for and missing people to an extent that’s detrimental to your own well-being,” she shares as cellist Sasha Ono and violinist Camellia Hartman take their virtual places. “I think, as we’re all secluded and cloistered away from the people we care about, this one’s been resonating harder with me than it did when I recorded it.”

It’s a lovely ballad with Sadie on acoustic guitar and delicate pizzicato from Camellia.  It’s a beautiful song and a great selling point for getting the album. They song fades out at the end but it feels like it could go much longer.

[READ: November 18, 2020] “A Bit on the Side”

This was the slow detailed story of a couple breaking up.

They met at their usual cafe and she sensed something was wrong.

He spoke positively of how nice she looked. (more…)

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E.L. Doctorow–“A House on the Plains” (New Yorker, June 18 & 25, 2001)

Posted in Coronavirus, E.L. Doctorow, Murder, New Yorker, Quarantine, Sex, Short Story, Skrillex, Tiny Desk (Home) Concerts, Tiny Desk Concert, Ty Dolla $ign, Violence on November 27, 2020| Leave a Comment »

SOUNDTRACK: TY DOLLA $IGN: Tiny Desk (Home) Concert #104 (October 28, 2020).

I didn’t know much about Ty until his previous Tiny Desk Concert, which I kind of liked.

When I saw this one, I still thought he was a rapper.  But he is a full on crooner in this concert.

I was fascinated to see that he was manipulating all of his effects himself–autotune and whatnot-on the box in front of him, which he kept walking around with.  But perhaps the most fascinating thing about this was that Skrillex was there playing with him (they are mates, I gather) and that Skrillex was playing the guitar for the first track.

This is one of those “six songs in 15 minutes” sets.  Each song is more or less a verse and a chorus.  And in between there’s a kind of fun jam.

“Temptations” features Skrillex on guitar.  It’s pretty short and soon enough Skrillex puts down the guitar and they are playing that interim music and starting “Something New.”  This song features a groovy bass line from Joe Cleveland.  I don’t quite know what the lyrics are but they are remarkably vulgar.

“Or Nah” opens with a cool spiky guitar riff from Brandon Chapman who Ty calls “my twin, Baby Dolla $ign).    Up next is “Paranoid” which is without question the worst song I have ever heard.

The lyrics are bad enough

I seen two of my bitches in the club / I know they know about each other / I think these bitches trying to set me up.

What the hell?  And worse than the lyrics is that he does that awful love song crooning, but it’s about he’s crooning about his bitches setting him up.  Oh god, its dreadful.  Although I was amused at the amusign way he introduces his keyboardist.  I gather he changes the lyric to “your bitch smells like Camper” [point to keyboardist].

After the excerpt the band jams out and it’s really good.  The band is tight and really rocks.  There’s some great drumming from Mike Moore and some more wild soloing from Chapman.  This was my favorite part of the set.

Although the sinister bass riff that opens “Ego Death” is pretty cool.  Again the jamming in the middle of the song is great (and the samples that Ty triggers are really fun).

The set ends with “Your Turn.”  Ty picks up the guitar but mostly plays occasional chords.  The song is all guitar and vocals to start with.  Then backing singer Ant Clemons sings a call and response.  By the end of the song he is singing “yee yee yee yee” for some reason.  I was really happy when this set was over.

[READ: November 25, 2020] “A House on the Plains”

I tend to think of E.L. Doctorow as writing kind of formal books.  That’s not based on anything except that he’s been writing for a long time and that some of his books have been turned into movies (and musicals).

So I was surprised at the tone of this story.   And then even more surprised as the plot started to reveal itself.  The story was wonderfully written.  There’s the story that’s not being revealed as well as the part that is.  And both are really engaging.

The story begins in Chicago.  The narrator says that his mama tells him that he has to start calling her Aunt Dora.  Why?  Because when they move, she can’t have other people believing she has a child his age.

The boy, Earle, (who is at least a teenager because he is having sex with a local girl, Winifred) is not happy about leaving Chicago.  Both because of the girl and because Chicago is a cool city and they are planning to move to the middle of nowhere. (more…)

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Glenn Patterson–Where Are We Now? (2020)

Posted in Christmas, Coronavirus, Earthgang, Huh?, JID, Marriage Trouble, Mereba, Northern Ireland, Quarantine, Religion, Robbery, Sex, Threats, Tiny Desk Concert, Tiny Desk Contest, Violence on November 26, 2020| Leave a Comment »

SOUNDTRACK: SPILLAGE VILLAGE-Tiny Desk (Home) Concert #101 (October 23, 2020).

I never imagined that a video filmed in a church would have an explicit language warning at the beginning of it.  But such is Spillage Village.

The Atlanta collective consists of Dreamville records standouts J.I.D and EARTHGANG along with Jurdan Bryant, Hollywood JB, Benji and Tiny Desk alumnus Mereba. R&B star 6lack, also a member of the group, was unable to make it to the shoot due to travel restrictions.

There’s 12 people in the church (let’s hope they are all tested since they are not social distancing). And seven of them are rapper/singers.  The rest is a live band, and they are tight.  They sound great.  It’s amazing how much a live band can add to a rap concert.

Musically, “End of Daze” is very cool with funky bass from Benji and lots of grooving wah wah solos from the guitarist on the back.  The verses are rapped and everyone gets a turn.  What I especially liked was the diversity of voices and styles.

WowGr8 goes first.  He has a cool accent and delivery.  JID has a fantastic style–his voice is higher than the others and very distinctive.  Mereba has one of the best verses–referencing Nipsey Hustle’s murder.  Jurdan has the most conventional-sounding delivery.  Hollywood JB seems a but more lighthearted in his delivery.  Then OLU (dressed in a fantastic suit) sings his verse.  He has a great singing voice.  While he sings his verse and the song fades sprinkling keys twinkle.  They all sing the super catchy chorus. The backing band is apparently all related but someone is playing the keys and the credits don’t say who: Justin Barnett: guitar; Jerramy Barnett: bass; Nick Barnett: guitar; Dj Barnett: drums.

Christo the DJ starts out “Baptize” with a sample.  OLU raps.  I love his delivery–.his verse is choppy and funky.  JID takes the next verse, and I like him even more.  The song has a fun sing along chorus which seems strangely raunchy for a song about baptism.  WOWGr8 takes another verse and shows off some really fast rapping.

Before the next song, someone’s phone rings and one of them says “turn off your phone in church.”  Mereba sings this next song, which she says is called “Hapi.”  After she says this, someone sings “because I’m happy…) very quietly.  The song proves to be a full on gospel type song.  Mereba has a kind of spoken word section and then OLU croons beautifully.

“Jupiter” ends the set.  Mereba grabs an acoustic guitar and the whole group sings an almost campfire singalong.  The church does feel like an appropriate setting for these last two songs.

I’m really impressed by this group.

[READ: November 15, 2020] Where Are We Now?

Glenn Patterson is from Belfast, Northern Ireland.  This novel is a small (in scope) story about life in Belfast.  I don’t know that I’ve ever read a story that focused in such detail on the daily life in Belfast, post-Troubles.  The Troubles don’t really enter into the story–except that there are ever present reminders of them.

This is the story of Herbie.  Herbie is a middle-aged man.  I initially assumed he was older middle aged, then I thought he might be younger middle-aged.  I don’t believe it is ever stated.

I had a remarkably difficult time reading this book because there was so much I simply didn’t know.  Stuff that the average Belfastian person probably knows very well and with no problem.

It started pretty early on when someone says that a person had dumped a Portakabin on one of the roads running up to the hills on the far west of the city.

Okay so first, you have to find out what a Portakabin is (a mobile home of some sort). Then there’s a lengthy talk about who might do such a thing.  And I really didn’t understand much of what they were talking about.  Although I did like that they conclude that whoever did it could be summed up as The Ungivers of Fuck. (more…)

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George Saunders–“Ghoul” (New Yorker, November 9, 2020)

Posted in Bebel Gilberto, Coronavirus, Death, Domestic Violence, Funny (ha ha), Funny (strange), George Saunders, Huh?, Humiliation, João Gilberto, Marriage Trouble, New Yorker, Quarantine, Short Story, Tiny Desk (Home) Concerts, Tiny Desk Concert, Violence on November 25, 2020| Leave a Comment »

SOUNDTRACK: BEBEL GILBERTO-Tiny Desk Concert #96 (October 15, 2020).

Typically, I don’t know the international performers that Tiny Desk brings out.  Of course I’ve heard of Bebel Gilberto, although I don’t know all that much about her music.

Bebel Gilberto is, of course, the daughter of one of the creators of bossa nova, João Gilberto.

And while her music is lovely, as the blurb says, I’m more blown away by her view!

When we invited Brazilian vocalist Bebel Gilberto to do a Tiny Desk (home) concert, we had no idea her home would have a spectacular view of speed boats gliding across the lagoon in the heart of the picturesque Leblon neighborhood overlooking the iconic Dois Irmãos mountain in Rio de Janeiro.

Her first song, “Cliché,” is mellow and smooth.  There a ton of music going on behind her, but she only has one other player with her, Chico Brown.  Is it all samples?  What’s going on there?

During this concert, she is accompanied by Chico Brown, the son of famed musician Carlinhos Brown and grandson of the legendary Chico Buarque.

Between songs she sits with Ella her tiny dog and talks about her new album–her first in six years.

“Na Cara” opens with a very cool deep bass line.  Brown plays the keytar and sings backing vocals.

You can feel the presence of all of that Brazilian musical royalty in one of Bebel Gilberto’s most popular songs, the closing “Aganjú.”

“Aganjú” was written by Chico’s father and is her most popular song.  Chico plays the acoustic guitar.  The song has a slow beginning but a much bigger sexier chorus.

[READ: November 23, 2020] “Ghoul”

This George Saunders story reminded me a lot of another George Saunders story, “Pastoralia.”

In that story a man and a woman work as “cavemen” in a living diorama.  They are watched all the time and must alway be “acting” when there are visitors.

In this story, everyone seems to be working in a living diorama.  In fact, their entire world seems to be a theme park or museum and everyone must perform for the visitors.

This story takes the premise of the first story further in almost every way–their entire world s underground with only one way in.  Everything has been turned into this amusement area.  They eat at Vat of Lunch, and every area of their universe has a clever name like Beneath Our Mother the Sea and Wild Day Out West.  The people in each of these scenes act as their are name implies.

The main character, Brian, is a Squatting Ghoul.  He and his fellow Squatting Ghouls are with Feeding Ghouls and Li’l Demons.  It’s not clear exactly what Brian does, but it doesn’t sound pleasant. (more…)

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Squarepusher (Union Transfer, Philadelphia, PA, November 24, 2020) [CANCELLED]

Posted in 2manydjs, Cancelled, Coronavirus, Philadelphia, PA, Postponed, Quarantine, Squarepusher, Union Transfer on November 24, 2020| Leave a Comment »

[CANCELLED: November 24, 2020] Squarepusher

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Squarepusher is an electronic musician (Tom Jenkinson) who has been making weird glitchy electronic noise beats since the mid 90s.

I have an LP and an EP.  I really haven’t listened to him in a very long time.  In fact, I didn’t even know he was still doing stuff.  But his new stuff seems to be just as weird and glitchy and cool as his earlier stuff.

He hasn’t toured the States in five years and hasn’t been to Philly in eight years.

His North American tour was originally in April and was basically Boston and New York on the East Coast.  He rescheduled his shows and added Philly to the tour.  I asked my friend who introduced me to them so long ago if he would consider going.  He said he was never that big a fan and that the man is full of himself.  Not a ringing endorsement.

Since I’ve never been to a show like this–noise and glitchy “dance” music, I would be interested to see what it’s like.  It might also have been a fun first show to return to, although it was officially cancelled.

I do hope he decides to come back in 2021.ca

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Jorge Quiroga and Cristina Pérez Navarra–Nano (2009)

Posted in Coronavirus, Cristina Pérez Navarra, Funny (ha ha), Funny (strange), Graphic Novel, Huh?, Jorge Quiroga, Max, Ozuna, Puerto Rico, Quarantine, Surreal, Tiny Desk (Home) Concerts, Tiny Desk Concert on November 24, 2020| Leave a Comment »

  SOUNDTRACK: OZUNA-Tiny Desk (Home) Concert #97 (October 16, 2020).

Ozuna is described as a global superstar and is one of the most watched and listened-to artists on earth. [That link takes you to a Guiness Records page where he is recognized for how much he has been listened to].

Of course, I’ve never heard of him.

Ozuna is a crown jewel in the global crest of Latin pop, a movement whose modern success in reggaeton and Latin trap is indebted to the Caribbean genres Ozuna heard growing up in Puerto Rico, sounds like old-school reggaeton and reggae en español, dembow, dancehall and more.

This Home Concert apparently brings Ozuna’s sound to a more quiet place.

For someone whose work often operates at galactic proportions, this performance of five songs makes room for Ozuna’s sweet tenor to take center-desk in a love letter to the global communities that supported and streamed him to god tier status.

The Puerto Rican singer kicks it off with a breezy rendition of “Caramelo.”

Breezy is a great word for it.  It feels tropical with a reggae rhythm from Freddie “YoFred” Lugo on bass and Elí Bonilla on drums.  The two guitarists (Carlos Mercader and Benson Pagán) play reggae chords and some lead licks.

that leads into a solo version of the sun-drenched “Del Mar” from ENOC, his fourth album that he’s deemed a return to his roots.

It opens with a cool guitar lick and some pleasant keys (Edgardo Santiago).  But Ozuna’s delivery is much faster than the chill music.    I really like the way the backing singer José Aponte matches his voice so perfectly.

Dancing around in the back is the DJ Erick “Yonell” Pachecho.  I’m not really sure what he’s doing back there but he seems very busy.

This pared-down performance makes good on that promise, reworking star-studded collaborations, like the ballad “Despeinada,” as they should be sung: languorously and with intimacy.

“Despeinada” is a quiet ballad.  You can hear Hector Meléndez on the piano playing pretty fills as the rest of the band grooves.  It segues into the banger “Taki Taki” (which I can’t help but imagine is about those purple-bagged chips that I see at the Wawa).

Even the pop smash “Taki Taki” sounds brand new, buoyed by his alchemical flow and energy.

This is my favorite song of the set, from the bouncing rhythm, to the loopy keyboard melody to the fun of singing “taki taki.”  This song is quite short, so it’s clearly just an excerpt. The same is true for “Mamacita” which is barely 2 minutes.  But the flow of this song is great.

I guess the world is right about him.

[READ: November 24, 2020] Nano

I found this book in the hold of our library.  It’s from 2009, although I believe that we received it in 2012.  This means that it has been sitting in our storage area for 8 years and nobody has asked to see it.

This isn’t the only book in this situation–we have many, many books that are unlikely to be read–but most of them are nonfiction and not really timely anymore.  This book, however, is a cute little (40 page) book of cartoons.  And, best yet, they have no words.

There is an introduction (in Spanish) from Máximo, who I assume is the cartoonist Max.  I assume this because Máximo doesn’t come up in searches and because the introduction talks about how Nano is the tiny everyman.  So Máximo is a funny twist on a tiny person.  Or so I think. (more…)

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Curtis Sittenfeld–“A for Alone” (New Yorker, November 2, 2020)

Posted in Artists, Carlos Vives, Colombia, Coronavirus, Curtis Sittenfeld, Feminism, Interviews, Mike Pence, New Yorker, Quarantine, Religion, Sex, Sexism, Shakira, Short Story, Tiny Desk (Home) Concerts, Tiny Desk Concert on November 23, 2020| Leave a Comment »

SOUNDTRACK: CARLOS VIVES-Tiny Desk (Home) Concert #95 (October 14, 2020).

This is a hugely fun Tiny Desk (Home) Concert.

Everything about Vives’ music feels uplifting and joyful.  And boy is that a nice feeling.

Carlos Vives kicks things off in high gear on this Tiny Desk (home) concert with his trademark sound: a celebration of the music from his beloved home country of Colombia, mixed with rock and other Latin music styles.

The opening song “Pa’ Mayte” starts out with a ripping accordion melody from Christian Camilo Peña and some wonderfully funky fluid bass lines from Guillermo Vadalá.  Vadalá is my favorite component of this set without question.

Vives’ voice is strong and powerful and he is joined with a chorus of backing vocalist and percussionist, especially Guianko Gómez from Cuba and Mayte and Tato Montero.

The middle of the song has a rap followed by some really fast and complicated lead guitar from Andrés Leal (followed carefully by Vadalá).

Spirited champeta dance grooves from the country’s Pacific coast permeate his classic 1995 hit “Pa’ Mayte,” and if you look closely you’ll see two of his backup vocalists also playing traditional gaitas Colombianas (flutes).

Then comes the flute solos.  First Mayte Montero on the traditional gaita then Tato Marenco joins in.  Of course no song like this would be complete without some excellent drum and percussion and Martin Velilla is fantastic in that role.

Vives speaks in Spanish between songs. He says that “Cumbiana” is dedicated to his country (Colombia) and the people there.  It opens with pretty, echoing guitar and some wonderful lead bass notes.

It starts slowly, like a love song but turns into a bit of a banger in the chorus.  He even plays a harmonica solo.  During the quiet ending there’s just guitar and harmonica as the song fades.

Next is transition between the title cut of his new album Cumbiana and “La Bicicleta” a vallenato fueled by a bit of reggaeton.

It was originally recorded with his compatriot Shakira and he dedicates the song to her–“the bike to travel the whole world.”

The song is upbeat and a lot of fun.  The middle has a lead flute solo which is echoed by the lead guitar–a great combination. It ends with with a solo accordion melody as the song fades out.

Vives says that “cumbiana is that amphibian territory that I call where cumbias vallenatos and porros are born.

Evidently this is Vives’ signature sound:

a celebration of the music from his beloved home country of Colombia, mixed with rock and other Latin music styles.

They end with “No te Vayas” (“Do Not Go”) opens with quiet guitar.  As he sings the two flutes come in playing the melody along with his voice.  It’s a wonderful combination and an altogether fantastic set.

[READ: November 20, 2020] “A is for Alone”

This story has an interesting setup,.

The narrator is an artist and her latest project is inspired by Mike Pence.  She has called it “Interrogating Graham/Pence” and plans to interview a series of men.  She will give them a questionnaire and take their Polaroid.

The two key questions are:

When, prior to today did you last spend time alone with a woman who is not your wife?  Are you aware of the Modesto Manifesto also known as the Billy Graham Rule, also known as the Mike Pence Rule?

The first man she interviews, Eddie, is an old friend from college.  They took a ceramics class together. They both have fond memories of those days, although since school Eddie has become very successful in the investment world.  Eddie is married and has children and admits that he isn’t alone with other women very often.  But he agrees that the Mike Pence rule is weird.

One of the other questions on the questionnaire is “what did you think when I invited you to lunch?” Eddie assumed that she was sick or dying.

She had planned to meet a different man each week, but then realized she didn’t know 52 men.

The next man she invited was her son’s hockey coach.  He is confused and somewhat alarmed at the lunch invitation.  He assumes there will be more people.  He thinks that the Graham/Pence rule makes sense.  He is not willing to contribute to or particulate in her project. (more…)

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Bikini Kill / Alice Bag (Franklin Music Hall, Philadelphia, PA, November 22, 2020) [rescheduled date–POSTPONED]

Posted in Alice Bag, Bikini Kill, Coronavirus, Feminism, Franklin Music Hall, Philadelphia, PA, Postponed, Quarantine, Riot Grrrl, The Bags on November 22, 2020| Leave a Comment »

[POSTPONED: November 22, 2020] Bikini Kill / Alice Bag [rescheduled from May 13; moved to October 2, 2021]

indexBoy, a band reunites and plans a national tour and then everything blows up on them.  I thought surely this show would go on as planned–a bigger venue, possible social distancing. But how do you enforce social distancing at a rock show?  I sure hope we can go to live music again.

When Bikini Kill did their short reunion tour a couple years ago, tickets sold out in like ten seconds.  When they announced this follow up tour I grabbed a ticket immediately.  As far as I can tell it still hadn’t sold out when it was postponed (which is a surprise, I think).

Bikini Kill are foundation for the Riot Grrl movement although I was not a huge fan of them per se.  I have their records appreciate them for what they did, but they weren’t my favorite,

Nevertheless, this opportunity to see them live sounded like a great time.

Alice Bag has been cropping up in my periphery for quite some time although I realized I didn’t know much about her.  Alicia Armendariz was a co-founder and singer of the 70s punk band The Bags.  After they broke up, she was in about a half dozen other bands, although none of them released more than some singles.  She finally put out a solo album in 2016.

Her album(s) since have gotten strong reviews and it would be excellent to see this feminist icon in action.

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