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Archive for the ‘Nate Powell’ Category

SOUNDTRACK: ROKIA TRAORÉ-GlobalFEST Tiny Desk (Home) Concert #136 (January 14, 2021).

Rokia Traore.GlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The final artist of the fourth and final night is Malian singer Rokia Traoré.

Rokia Traoré performed at globalFEST in 2005, the music festival’s second year, and it’s a thrill to present her meditative performance as part of Tiny Desk meets globalFEST. Her work is rooted in the Malian musical tradition, but defies the confines of a single culture. Born in Mali to a diplomat father, Traoré had a nomadic upbringing that exposed her to a wide variety of international musical influences. She joins us from Blues Faso, a theater inside her Foundation Passerelle in Mali, which she created to support emerging, interdisciplinary artists, from music and the performing arts to visual arts and photography.

She plays three songs that more or less segue into each other.  I don’t know a lot about music from Mali, but the little I know I can recognize from the Ngoni played by Mamah Diabaté and the guitar played by Samba Diabaté, with lots of speedy runs.   In “Souba Lé” melody is played on the balafon by Massa Joël Diarra (although I wish they’d have shown us it up close).  Both this song and “Tiramakan” feature subtle bass from Aristide Nebout.  The final song “Fakoly” is a little louder and drummer Roméo Djibré is a bit more prominent.

But all of these songs are all about Rokia Traoré’s vocals which soar and ring out.

[READ: February 25, 2021] March Book 3

Each book has gotten longer.  Book one was 121 pages, Book 2 was 187 and Book 3 is 246.

This book begins right after the bombing of the Sixteenth Street Baptist church in Birmingham, Alabama in 1963.   You meet the victims before they were killed.  It continues through until the passing of the Voting Rights Act in 1965.  Holy cow was there a lot of violence in these two years and the amazing art by Nate Powell never shies away from showing it.

Eagle Scouts at Klan rallies who then go on to kill Black teenager’s, hicks in pickups celebrating the deaths of the girls in the church with anti-integration chants and, as we see more and more in this book, police killing innocent people and not getting in any trouble because of it.

This book has opened my eyes to what Black people have known all along about police forces.  That they are completely corrupt and need to be restructured from the ground up.  When you see that it was their job to be racist in 1963, is it any surprise that they are still racist in 2021?

Reading a book like this I can’t help but think that the best thing we could have done for our country would have been to let the south secede.  Bring all people of color north and let the racists fester in their own lack of diversity.  Because their racism poisons the whole country.  And yet that is exactly the opposite belief that this book is based upon.

I’m embarrassed at how naïve I am. (more…)

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SOUNDTRACKELISAPIE-GlobalFEST Tiny Desk (Home) Concert #136/156 (January 14, 2021).

ElisapieGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The second artist of the fourth and final night is First Nations singer Elisapie.

Elisapie returns to Tiny Desk for a show-stopping performance from Montreal, with the disco globe of our dreams helping to light her set. Elisapie, in both her songs and work, is a resounding advocate of First Nations culture in Canada. In her set, she harnesses an incredible energy with electrifying, emotive vocals.

I had really enjoyed Elisapie’s previous Tiny desk.  I found her to be a less extreme, but no less dramatic performer than Tanya Tagaq.  Her band is outstanding creating all kinds of textures to surround her voice.

The first song is “Qanniuguma.”  It starts quietly with a single ringing guitar note from Jean-Sébastien Williams and little taps of percussion from Robbie Kuster.  Joshua Toal adds some quiet bass as the guitar plays some higher notes.  After a minute Elisapie starts singing.  Another 30 seconds later the drums get louder and Jason Sharp start sprinkling in some raw bass saxophone.  As the song grows more intense, Elisapie adds some breathing and chanting–throat singing.  Things quiet down and then build again with the sax and the guitar soloing as the drums and bass keep things steady

Behind her you can see Mont Royal, which has a lot of history.

The second song “Wolves Don’t Live by the Rules” is “a small song” but very meaningful.  It starts in a similar way with ringing notes an thumping drums.  She sings this one in  English and it feels like a much more conventional sounding song.  It’s pretty quiet but the instrumental breaks adds huge guitar chords and the end is really loud.

Introducing the final song, “Arnaq” (which means Woman) she says women tend to forget that we have a lot of strength and we should celebrate it loud and clear.  This one opens with a loud raw sliding guitar like an early PJ Harvey song.  The song’s chorus builds with an “ah ya ya ya” as the instruments add chunky noises–scratches from the guitar and skronks from the sax and all kinds of precious.  It’s a cool noise fest, although the guitar could be a smidge louder.

I’d really like to see her live.

[READ: February 25, 2021] March Book 2

Book Two picks up John Lewis’ life.

Like the first, it starts with Lewis’ preparations for the inauguration of Barack Obama.

Then it flashes back.  Lewis was in college and had moved to Nashville where the growing student movement was gaining strength.

The visuals are even more striking in this book.  The panels of the white woman pouring water and then soap (or flour) on the quietly sitting Black diners and then hosing them down is really arresting.  As is the sequence (which is almost entirely black) of a room full of peaceful protestors being locked in a room when the fumigator was set off.

I couldn’t believe that a man couldn’t really left us there to die.  Were we not human to him?

Then next round of protesta was at the segregated movie theaters.  I love that they chose the Ten Commandments to protest (the irony was lost on the whites in Alabama).  The Black protesters would line up and would be refused seating.  Hundreds of people who would then get back on line and be refused seating again.  Whites would throw things at them and hurl abuse at them. (more…)

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SOUNDTRACKEDWIN PEREZ-GlobalFEST Tiny Desk (Home) Concert #136/155 (January 14, 2021).

Edwin PerezGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The first artist of the fourth and final night is Edwin Perez.

From the basement of the Bowery Electric in downtown Manhattan, composer and vocalist Edwin Perez and his 10-piece band come together to put on a show. With a strong backbeat and enough room to move around, Perez’s up-tempo energy brings the party and keeps it going. The theme of the night is salsa dura music, which originated in New York in the 1970s and gained acclaim thanks to acts like the Fania All-Stars and Spanish Harlem Orchestra.

This set is a lot of fun (even with the seriousness of the second song).  Cuban music is so full of percussion and horns it’s hard not to want to dance to it.  And this band has three percussionists: Nelson Mathew Gonzalez: bongo, cowbell (from Puerto Rico); Manuel Alejandro Carro: timbales (from Cuba); Oreste Abrantes: (from Puerto Rico).  The horn section is also pretty large: Leonardo Govin (from Cuba) and Michael Pallas (From Dominican Republic): trombone; Jonathan Powell (from USA) and Kalí Rodriguez (from Cuba): trumpet.

They play three songs. “La Salsa Que Me Crió” has lots of percussion and a great trumpet solo.  Perez even dances during the instrumental breaks.  And throughout, Jorge Bringas (from Cuba) keeps the bass steady.

After introducing the band, he says “Say her name Breonna Taylor.  Say his name Philando castile.  Say his name George Floyd.  End the abuse.”  This is the introduction to the quieter “No Puedo Respirar” (I Can’t Breathe).   Despite the subject, this song is not a dirge.  I don’t know what the words are but there is joy in the music as well.  There’s a jazzy keyboard solo from Ahmed Alom Vega (USA).

Yuniel Jimenez (From Cuba) opens the final song “Mi Tierra” with a fantastic introductory solo on the Cuban tres guitar.  The rest of the song brings back the Cuban horns and percussion. There’s even a drum solo (or two) in the middle.

[READ: February 25, 2021] March Book 1

I had heard amazing things about this trilogy of books.  I don’t know why it took me so long to get around to reading them.  Now that John Lewis is dead for almost a year, it was time to read them.

This is essentially a biography so it’s not easy to write about.  It’s also an incredible story of selflessness, fortitude and unbelievable courage.

The framing device is very well executed.  After a brief prologue that shows John and is marchers getting attacked by police, the book shows us Washington D.C. January 20, 2009, the day that Barack Obama is being inaugurated President.  Since John is (in 2009) in office he will be attending the ceremonies.

As he is preparing and getting ready to leave, a woman and her two children walk into his room hoping to look at Mr. Lewis’ office–a inspirational moment for her young boys.  But it happens that John (or Bob as he is called) is still in his office. They are embarrassed to interrupt, but he welcomes them warmly and shows them some of the things around his office.

Like photos of him meeting President Kennedy when Lewis was 23.  And from the March on Washington in 1963, where Dr King gave his “I have a dream” speech.

Then the boy asks him why he has so many chickens in his office.

The story then flashes back to young John (called Bob by his parents).  His father purchased 110 acres in Pike County, Alabama for $300. John was incharge of the chickens on the farm.  He also loved preaching.  He learned to read at 5 and began preaching to the chickens (they never said Amen or anything).

He also loved going to school.  He would even away from his house on the days his father insisted all the children work in the field because he didn’t want to fall behind.  (Even if it meant getting in trouble).

One of the first being moments in his life wa when his Uncle Otis drove him North.

Otis knew which places offered colored bathrooms and the ones where you would never get out of the car: “Alabama, Tennessee, Kentucky.  These were the states we had to be careful in as we made our way North.”

It wasn’t until they got to Ohio that his uncle relaxed.  They arrive in Buffalo 17 hours later and John was amazed to see white and black people living next door to each other. (more…)

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SOUNDTRACK: BIDINIBAND-The Horseshoe Tavern, Toronto (December 5, 2012).

The Rheostatics were originally supposed to play 3 Reunion concerts to help celebrate the 65th Anniversary of The Horseshoe Tavern. Unfortunately the concerts got cancelled but Dave stepped in and offered up a free show on Wednesday December 5 2012, what was to be the first of the reunion shows. The show started out with Dave Clark’s Woodshed Orchestra and was followed by Bidiniband. The Bidiniband set was a mix of Bidiniband songs as well as a variety of Rheostatics songs featuring guests such as Dave Clark, The Woodshed Orchestra, Tim Vesely, Noah Campbell, Tim Sweeney, Matt Cowley, Selina Martin, Al and Colin of Jazzberry Ram.

Dave opens the set by wishing: “Happy birthday Horseshoe, 65 years old tonight.”

The set opens with two “new” songs.  Bidiniband’s album came out in 2012, but they have been playing most of these songs for years.  This is the first show on RheostaticsLive that includes “In The Rock Hall / Rock and Roll Heaven.”  “In the Rock Hall” is a fun singalong.  And “Rock and Roll Heaven” is a fairly vulgar song about groupies and whatnot.

“Big Men” is even catchier than before and the band sounds great.  They play a lengthy version of “Fat” which segues into a slow, fairly traditional version of “The List.”  This List ends with… “It’s true… fuck you.”

“We’re going to do a song and then we’re going to have Selina Martin come up and do the exact same song.  “Ladies of Montreal” is my most openly sexist song.  Not really.”  Indeed, after finishing the song they play it once more, this time with Selina Martin singing the lyrics in French!

It segues into a stripped down version of Rush’s “The Spirit of Radio,” which is a very different,loose take on the song.  At the end someone asks, “Can you do that one in French?”

This is the first time (on the site) they’ve played “On Camoragh Lake.”  There’s a lot of cursing in this song.

Dave asks, “should we go song guest song guest?”  Someone says, “Totally man it’s a lot of fun.  It’s fun to see a lot of Rheostatics shirts too.”  Is Tim Sweeney here?   He comes up, “thank god I’m not following Selena Martin.  The closest thing to church for me was going to a Rheostatics show, so this feels weirdly like  impersonating clergy.”  He sings “Ozzy Osbourne.”  It seems shaky with the first notes, but he does a great job with the main part of the song.

We’d like to get the Woodchoppers up for this one, if possible.  They blow through the really “Take a Wild Ride” and then Dave says, “Lets go to E!” and they segue into “Legal Age Life” with a nice big horn section.

Dave says: We all wish Martin Tielli was here big time, but he’s in Ancaster.  We’re thinking of him (yea, he’s the best).  There was a really important Knight Rider episode he had to watch.  He’s got a really nice TV room, I can’t blame him.  60 channels….  Sausages on the barbecue.  Don: Is that one of the channels?  Dave: “Nice one, Don.”   This next song features Don Kerr. It’s called “Guns.” [some chuckling as it’s a poem written by Dave Clark].  They play “Last of the Dead Wrong Things which opens slowly with great guitar work and backing vocals.  And the drums are tremendous.  Near the end he shifts the song to “Making Plans for Nigel,” but this time the band sings along with the chorus.

Dave says he brought some stuff from his basement to sell–some old Rheos discs, Whale Music on vinyl and one Five Hole Stories CD  (CD?)

Dave calls for Tim Vesely the Slovak Slayer (they don’t call him that).  “Tim’s got his electric rock guitar (someone shouts “Palomar”) “Its Tim Vesely of the Rheostatics and The Violet Archers (or The Violent Archers as I like to say).  Tim: “I don’t need any bass for these songs.” Dave: “It’s overrated.  Only 4 strings, how hard can it be?”

It’s nice to hear “Claire” and to have Tim back.  There’s a good solo from Paul and then he says, “We’ll do one more Rheostatics cover for you,” and they play “Bad Time to Be Poor.”  Which he introduces as “This song is for Tim Hudak [a Progressive Conservative member of the Legislative Assembly of Ontario from 1995 to 2016 who represented the ridings of Niagara South, Erie—Lincoln, and Niagara West—Glanbrook.]

“All Hail Canada” is new to the shows–it’s a cynical look at Canadian politics.

Then: “Do the guys from Victoria want to come up and sing now?  Come on it’ll be fun.  Jazzberry Ram, the nerds from Vancouver.  They do a great version of “Quuer” and put their own spin on it.  After the song, Dave says, Do yo mind if Matt joins us?  He’s okay, really.”  Matt Cowley comes up to sing a gleeful “My First Rock Concert.”

Dave takes a moment:

I meant to say something profound about this night but I’m lost because we’re in the soup of this experience. He says he has been writing in cafes (cause I’m from Toronto, so I’m cool I write in cafes.  He’s listen to music and Rheostatics would come up on YouTube. He’d enjoy the songs and marvel at the parts they played. Then he would listen more and he would cry and wonder… maybe we should try to play again.  It didn’t happen,  but that’s not to say it won’t ever happen as long as you never stop listening to your Rheostatics records and crying, anything is possible.

The opening of “The Land is Wild” sounds an awful lot like “Horses” the way it opens.  Dave says this song existed in the Rheostatics for a couple of months but then they broke up.  This version really rocks (the backing vocals are tremendous).  You can hear Dave’s guitar get staticky near the end.  The song segues into “Yemen” sort of, but the statics is too much and they have to stop to fix it.  Dave tries to gt things going again: “Can we start off where that last song ended I think it was building to an interesting place.  Or was it not?”   But the static is irreparable.

“Terrible time in the night to have technical problems–during the last song.”

Dave says, “Okay folks one more.  The crowd shouts: five more.  100 more!  Dave: That would be impossible.

Take it into the crowd!  There’s some inaudible chatter and laughter but I think save heads out into the crowd with the guitar to play Stolen Car.  Not sure who is singing–but he’s a bit off on things.  At one pint he says, “my son told me I’d fuck up.”  Dave: “you fucked up good though.”

Doug–says “I grew up listening to that shit.” He then talks about a dream: he was trying to play Take 5 but the strings were all mushy (The band plays a bit of “Take Five.”  Then Dave talks about a dream he had about shows that never happened.  They did play shows where nobody showed up.

Tim’s my favorite was in Winnipeg or Alberta, a university pub gig  “1/2 price wings plus live music.”  There was nobody there yet there was set list from the band that played the night before.  We took it and went song by song off the list and made up songs on the spot.  I think it was B-52s in Winnipeg  a lunch hour gig named not after the band or even the plane.

Audience: “How were the wings?”  “Half Price.”

We played in Red Deer to two guys who had just come back from putting out fires in Kuwait and a sound man who put his headphones into the TV to listen to The Cosby Show–it was an important episode.  Don: But we got a good bag of weed out of it.  Dave: In red deer at Mortimer’s in the Capri Hotel.  The Shell sign with the s burnt out.  We should have known…   that’s rock n roll.

bzzzt  “I don’t think it’s the cable”  “Put a mike on it!”  “That’s why we need a professional studio engineer.  Don’s side career is that he runs the Rooster Recording studio!

“Horses” sounds great.  Everyone is into it and the addition of horns at the end is great with someone singing along with the horns:  bup bup bup.  And then it rocks to the end.  Despite the cable, it’s a great set with super guests.  Not bad a for a free night.

[READ: April 13, 2017] Sweet Tooth: Wild Game

“Wild Game” is the concluding book in the Sweet Tooth story.  And it remains as dark as anything.

It also begins, like Endangered Species, with a storytelling section–the book turned sideways with a lot of text. It catches us up on what happened in a succinct style.  How the environmentalists were able to return to the dam, how they invited our heroes to stay (Johnny and Bobby accepted–Bobby needs to hibernate after all) but the rest decide to head to Alaska, to their destiny.

Their crew is now Jepperd, The Fat Man (the guy they met out in the woods), Wendy, Gus and Becky.  Lucy is now dead and Dr Singh fled to get to Alaska on his own (he had an epiphany that may have sent him over the edge–he seems to think he might be a preacher, or even a savior).

When they finally arrive in Alaska, sadly Abbot and his team are waiting for them.  And Abbot is especially angry at his brother.  Which leads to a flashback provided by Nate Powell.  It shows Abbot and Johnny as children with their abusive father and how Abbot always stuck up for Johnny even when Abbot went to the military and Johnny had long hair.  When the Sickness began, Johnny was taking care of his ungrateful father and Abbot was at war.   He had returned–with far less hair, and far more attitude.  He took Johnny away from their dad and brought him to the camp where we found them at the beginning of the story. Of curse Abbot wasn’t in charge at first but he quickly made everyone know just how powerful he was.

And just how much things have changed.

Dr Singh meanwhile had been looking for information about Gus’ father. Could he rally have been a lowly janitor? While searching, he comes across Dr Thacker’s journal (I love the continuity).  And he learns a fascinating but of history about Gus and his father.

While browsing through the barracks our heroes learn that there are many more hybrids living here–they are feral but not mean.  In fact they are quite taken with Becky. But they are quite fearful.  And they meet Dr Singh who has some pretty tough truths to impart.

But there is no time for any of that.  Because Abbot and his men are coming.  And Jepperd needs to get everyone prepared.

Can anyone possibly survive?  Yes, some do, but several others will die in the bloody confrontation.

The final chapter of the series is outstanding,  It looks very different–clearly Lemire’s work but with a starkly different, somewhat softer appearance.  Gus appears to be chased by more humans. But Gus looks different somehow,  And that’s when we learn that he is.

And the conceit of the last chapter is that each little segment begins This is a story.  Starting like the beginning with This is a Story of a little boy who lived in the woods.  And that story moves along through many years–through happiness and bloodshed. Through conflict between friends and love between enemies.  And it has an incredibly touching ending.

What a great story.  If you can handle the violence and gore, it is so worth it for the ending,

Lemire is a master storyteller.

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silence THEE SILVER MT. ZION MEMORIAL ORCHESTRA & TRA-LA-LA BAND-13 Blues for Thirteen Moons [CST051] (2008).

330px-13_Blues_for_Thirteen_MoonsThis album opens with 12 tracks of a kind of feedbacking noise.  The total time for this is about a minute before track 13 begins.  And this album feels very different from the more acoustic Horses.  Whereas Horses felt acoustic and organic, this album is noisy and raucous and very electric.  After the 12 brief tracks there are four lengthy ones that comprise the album.

“1,000,000 Died to Make This Sound” starts with scratched notes and pizzicato strings.  The choir quietly begins singing the title “one million died to make this sound.”  Their voices grow louder and then at about 3 minutes in there’s a great bowed riff that introduces the more rocking section–a guitar “solo” and drums as that bass riff continues.  About mid way through the song it takes on a real rocking feel–the guitars rock out and the steady beat keeps up.  The song feels sloppy and intense–like they couldn’t wait to get this out.  I would describe the song as fun (except that it’s pretty bleak).  Efrim’s voice sounds a bit like Johnny Rotten or some other British punk) on this song and the punk style suits it well.  I really love the way the violin-swells make the riffs even bigger until about 9 minutes when the song shifts dramatically again and it feels like a Crazy Horse jam–big, sloppy, noisy guitars.  The song reaches a sort of natural stopping point as the music all fades away and the voices resume–I love the choir of voices at the end of the song (although perhaps Efrim’s voice could be a tad quieter?  Efrim’s voice seems to be a polarizing thing for fans of this band.  I’m even polarized about it on different songs–sometimes I think it’s too much, but other times I think it works well.

“13 Blues for Thirteen Moons” is 16 minutes long.  It begins with thumping drums and bass before Efrim’s voice comes chanting in.  The song is noisy and chaotic–lots of drums and cymbals and then the backing vocals start a call and response with the lead vocals.  The song continues in the same vein–with a refrain of “I Just Want Some Action” but then around 5 minutes a big distorted guitar plays a kind of concluding riff before a quieter guitar begins a new section with some quiet picking.  And its in this section that the album title is sung.  This quiet guitar section goes on for quite a while with Efrim shouting various parts–and then second voice joins him.  It’s unusual that the band will play the same riff through so much of a song, but it’s a good riff.  The whole band picks up the riff as it grows louder and more rocking.  The final two minutes are filled with feedback and quiet guitars with Efrim shouting syllable after syllable until it feedbacks to an end.  It’s a pretty intense song.

“Black Waters Blowed/Engine Broke Blues” opens in a much quieter way with slow revered guitars.  The vocals are also slow and accompanied by a lone cello.  But after a minute and a half chaos erupts in the song–feedback squalls and wild guitars accompanied by chaotic drumming make the song sound like it is tripping over itself , but it soon resolves to a quiet part like the intro–this time with two singers.  The song builds again, with the chaotic drums fighting for dominance over the string section.  But they both cede again to the quieter vocals once more.  The band then acts in concert building the song and allowing the vocals to continue.  And after a musical interlude, the vocals begin again over a quiet organ.  And this next section builds as strings accompany the louder vocals and the drum gets a pounding martial beat.  The final section, which appears to be the “Engine Broke Blues” is a repeated refrain of “Building Trainwrecks in the Setting Sun.”

The final song “BlindBlindBlind” also opens quietly, with a simple guitar motif.  As the vocals continue, a ringing guitar and a feedbacking guitar join the song (each in a different ear).  And then a violin adds to the melody.  About 4 minutes in, the melody shifts to an organ heavy section with the lead vocal followed by backing vocals.  A pizzicato section begins next.  What’s interesting is that the vocal melody hasn’t really changed this whole time (in this song Efrim again sounds a bit like a British punk rocker).  At around 7 minutes, the song turns towards the end, with strings and drums.  This end bit is my favorite part on the record, not only for the melody, but for the excellent backing chanting.  The backing vocal melody is very cool in itself–I love when they add the high notes–repeating the refrain “Some hearts are true” over and over.  A guitar solo interrupts the proceedings for a bit and then they resume singing all the way to the end.  It’s a very cathartic conclusion.

For this album, the lineup stayed the same although Eric Craven replaced Scott Levine Gilmore on drums.

Back in 2009, I wrote a post about this album.  It’s pretty brief and mostly talks about the singing.

[READ: March 1, 2016] The Silence of Our Friends

This was the final First Second book that I had in a huge stack that I took out from the library.  I had been putting this book off because I was nervous about reading it.  Nothing pretty is going to happen in a Civil Rights book and I had to prepare myself for it.  Obviously, the era is staggeringly important–even more so today with the kind of political rhetoric being shouted around.  That’s not why i didn’t want to read it.  I was afraid about how ugly this book might get.

But in fact, this book doesn’t go in that direction at all.  It is a factual story and while it looks at racism, it also shines a light of hope on race relations. It’s another excellent graphic novel from First Second [#10yearsof01].

What I did not know is that this story is based on actual events–the author’s father was a journalist in Texas during a serious Civil Rights confrontation.  And his father was able to help offset a travesty of justice.  He risked his career and even his own safety to do the right thing.

Set in Houston in 1968, we see some kids playing army in the yard.  This is also during Vietnam, so that’s probably not a very uncommon sight.  When the kids go inside, their mom is watching the Saigon execution on TV.  She is horrified and begins crying. The talk that night is of the atrocities of war. (more…)

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