Archive for the ‘Chris Adrian’ Category


Negativland was (is?) a weird “band” who released absurdist sound collages.  Their purpose was culture jamming and they created quite a stor throughout their “career.”    The band was more or less created by David Wills (born 1954) also known as “The Weatherman”.. He was a cable repairman when he joined the group with a then-teenage Mark Hosler (1962) and Richard Lyons (1959-2016) also known as Dick Vaughn, Dick Goodbody, and Pastor Richard Seeland.

Their first record came out in 1980 and had twenty untitled tracks.  The “songs” were mostly sound effects, radio broadcasts and home recordings. There was some original guitar and drum machine, but mostly it is just collage.

About the tracks:

[SIDE 1]

1. You can hear a spoken word news announcer in the background as a guitar line comes in followed by a drum machine.  Then comes a woman (David’s mother, I believe ) reciting “This is Negativland.”

2. A ticking clock with a pretty guitar melody and then increasingly loud table saws (one in each ear)

3. A drum machine with a spoken word announcer.  This blurb comes from a fan on YouTube:

The man speaking, Mitch Werbell, worked for U.S. covert operations. At the time, (late 70s) there was a big problem with urban terrorism in Argentina. They had threatened to kidnap Coca-Cola reps in Buenos Aires. Werbell is explaining (on the ABC TV show 20/20) what he told the terrorists would happen if they tried, when he was hired to go help the executives escape the area.

4. Horns playing single notes.  It abruptly ends with ringing alarms

5. Guitars (electric and acoustic) playing and echoing.  This is the longest track at almost 5 minutes. Lots of spoken words among the trippy sounds and boopers.

6. Drum machines and noises and then after a violin line comes the most famous early phrase from NegativalndL “Seat Be Sate” (Play Black Sabbath at 78).  The “poem” is soon taken over by noise and a looped spoken word.

7. A menacing static noise and very sci-f sound effects couple with a German language instruction tape.

8. Static noises and de-tuned acoustic guitar strumming as someone sings a bit

9 A looping string of interesting sounds–booper, waves of sound and a clip o kids singing and then Don’s family speaking, all looped into a rhythm.  Finally a classroom rule about silent E

10. Drum machine with a whispered singing vocal and a catchy guitar riff with (of course) lots of distorted noises.

The lyrics:

Cara mia, why
Must we say goodbye
Each time we part
My heart wants to die
Darling, hear my prayer
Cara mia fair
Here are my arms
You alone will share

All I want is you
Forever more
To have, to hold
To love, adore
Cara mia mine
Say those words divine
I’ll be your love
Till the end of time

My cara mia
My cara mia
My cara mia

[SIDE 2]

11. French speaking and the an a loop of an older man saying “everything’s going fine, no trouble just get set and get going. Amen.

12. Warbled distorted vocals of a man and woman reciting the Hail Mary.

13. A family scene with people talking over a news broadcast (WCBS news time).  You can hear David saying “It’s not alive, Drew.”

14. Some more kids talking with all kinds of jammer sounds over them.  The final line has a woman saying “Reading the book by the seamen within would be very helpful.”

15.  Blues on an acoustic guitar (pretty well played) although by the end the solo is out of tune and crazy.

16. Boopers and outer space sounds.  Multiple radio broadcasts overlapping including one about a bedpans in hospitals.  And a joke ( I can’t guess the comedian, but he sounds a bit like Bob Goldthwait or Les Claypool, but it obviously isn’t) “I wouldn’t marry you if you were the last man on earth.”  The punchline is obscured then the laughter come in.

17. A slow drum beat and random noises on a guitar

18. A family scene David’s mother talking about the affordability of buying meat by the pound.

19. A low deep siren sound followed by this dire message from the Emergency Broadcast Network: “The office of civil defense has issued the following message “this is an attack warning” this is an attack warning.  An attack warning means an actual attack against this country has been detected.  Then there’s David inviting Everett to a barbecue that afternoon.  It’s followed by some audio from the American Airlines 191 plane crash from 1979.  This segues into a family scene where the dad is telling a joke about cannibals.  A man walked among cannibals with cases of Pepsi.  The cannibals drank the Pepsi and ate the man.  All except his thing.  When they were later asked why they didn’t eat his thing, they sang, “Things go better with Coke.”

20. The final track states, “Now hear how a real parakeet should sound.”  Then a woman says good morning and then a crazy raspy voice repeats here.  The album ends with this oscillator sound that my parents had in the 1970s–a kind of looping really fake bird chirping.  No idea why they had it.

This actual release of this record was accomapnied by all kinds of original magazine clippings and artwork. And the CD came with pins and other cool things.  It’s a weird artifact from the dawn of culture jamming.

[READ: April 20, 2019] “The Glass House”

I decided it would be interesting to go back to the year 2000 and to read all of the New Yorker stories up to the present.  I think as of now I have read through 2005.  By the time I have finished (next year, I’m sure) I’ll have 20 years of stories read.

This story is set during the Civil War.  The main character, Will, has just enlisted.  His brother, Sam, was killed at Bull Run and Will came to take his place.  His Captain was very happy to have him because Sam was a brave and well-liked man.  But Will, as he himself would admit, was neither of those things.

After Sam’s death, the Captain intended to go to Sam’s house personally to pay his regards to their family.  Had Sam’s mother seen the Captain, she would have spit on him.  But before that could happen, Will decided to enlist.  He forged his mother’s signature and didn’t tell anyone when he left. (more…)

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concavityStarting this month, Matt Bucher and David Laird, scholars and fans of David Foster Wallace have created the first regular Podcast devoted to Wallace.  And the intro and closing music is from Parquet Courts’ “Instant Disassembly” which is also pretty cool.

This introductory episode serves as an introduction to Bucher and Laird, their love of Wallace’s work, and what they hope to do in future episodes.

Matt Bucher lives in Texas, not far from the Ransom Center where the Wallace archives have been settled (he assures us that he moved there before the site was selected). David Laird is from Kelowna, in British Colombia (4 hours east of Vancouver).  The claim to fame of Kelowna is the mythical lake monster Ogopogo.  But in Infinite Jest, a character is spoken of as being addicted to a thick apple juice that comes from BC.

Bucher also runs Sideshow Media Group which published Elegant Complexity, Nature’s Nightmare, and Consider David Foster Wallace. He says he and his brother founded the press because no one would publish Elegant Complexity, and he felt it needed to get out there. (more…)

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peach6SOUNDTRACK: BOB MOULD-Workbook (1989).

workbI actually wrote this while reading Bob Mould’s book, I assumed I attached it to something and then wrote about Mould’s second disc Black Sheets of Rain.  And now I see that I never attached this to anything.

This is Mould’s solo debut, an album that I think of as being a mellow acoustic album.  And it is, kind of, at least if you go by the opening song, “Sunspots” a  beautiful little acoustic guitar instrumental.  And the rest of the instrumentation on the record includes strings, which are prominent on “Wishing Well.”  Although the song rocks a lot harder than I remember–especially the rollicking solo which has some real screaming guitars and angst in it. It sticks out a bit in the album because most of the album is more along the lines of “Heartbreak a Stranger”–opening with a gentle pretty acoustic guitar and Bob’s emotional voice (and really nice harmonies).

And then comes “See a Little Light” Mould’s first solo hit (and a big one at that).  It’s bright and has great harmonies.  There’s strings which really accentuate the song and a few moments which even now all these years later give me chills. “Poison Years” has more of that acoustic vibe but it brings in a big chorus (oh his harmonies!) and a harsh guitar solo (and a chilling final note)–a great song all around.

“Sinners and Their Repentances” is a minor key masterpiece in which Mould’s voice seems like the main instrument.  “Brasilia Crossed with Trenton” is a six and a half-minute song.  (This album is full of long songs actually–which comes as something of a surprise given Mould’s past success with three-minute pop songs–three of these are over 5 minutes and two are over 6!).  “Compositions for the Young and Old” is a great song all around.  “Lonely Afternoon” has some Hüsker Dü elements.   “Dreaming I Am” has a great mid-song riff (which sounds like a mandolin) and there’s something so great about the chorus.

“Whichever Way the Wind Blows’ ends the disc with a loud abrasive guitar sound. And his singing is practically inaudible shouting.   It sounds angry and has a rough riff and loud guitars.  At nearly 7 minutes it’s quite the cathartic ending.  It’s a strange ending to such a gentle disc, but maybe Mould wanted to show that he hadn’t gone entirely soft.  It’s an amazing debut and an auspicious start to his solo career.

[READ: April 21, 2013] “Last Supper”

As I mentioned, this issue of Lucky Peach is about the apocalypse.  So it’s only fitting that one of the two stories be about a Last Supper.  The story is a series of letters from Adrian to Crowley.

Adrian invites Crowley over for a special meal that his mother is making in honor of the Pope and his Last Tweets of the Apocalypse.  Adrian explains that her mother is a huge fan of Crowley’s work and would love it if he could come to this meal.  There is an enclosed (grotesque) picture of a pig which Adrian says they will be serving and, although it looks like pig, it is not made of pig at all.

Crowley demurs this invitation–he is extremely reticent to eat anything that is not what it purports to be (he had a bad experience once).  But he wishes them well. (more…)

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SOUNDTRACK: DEFTONES-Diamond Eyes (2010).

diamondBefore releasing Diamond Eyes, Deftones had two band crises. The first was that they didn’t really seem to like each other anymore.  The previous album was fraught with tension and they barely toured.  After deciding that they wanted to remain as a band, they were invigorated and made an album called Eros.  But during the recording, bassist Chi Cheng was in a car accident and was in a coma.  As of yet he has not fully recovered.  So they shelved Eros, hired a temporary bass player Sergio Vega and set about recording Diamond Eyes.  And for whatever reason, it proved to be one of their best releases so far.

“Diamond Eyes” opens with a heavy down-tuned guitar–very abrasive–until the chorus come in and it’s their most beautiful ones yet–with soaring keyboards and  harmonies.  And then the heavy guitars come back–it’s what Deftones do so well–beauty and ugly together.  Stephen Carpenter really shines, as always.  “Royal” is a fast song with a great harmonizing chorus.  “Cmnd/Ctrl” has a shocking low riff that explodes into a  bright chorus.  “You’ve Seen the Butcher” has guitars that seem almost untuned as the song starts.  But it morphs into a kind of sexy butt-shaking chorus.  And Abe Cunningham’s drums are, of course, fantastic.

“Beauty School” is the first that doesn’t really start out heavy, it’s a got a gentle guitar intro and the first song where Vega’s bass is really prominent as a separate instrument and it creates a beautiful alternative song–great vocals throughout.  “Prince” brings in a lot of new textures to the album, including a clanging guitar sound and a great screamed chorus. “Rocket Skates” is one of my favorite songs on the record, it has a classic metal riff and the great screamed-beyond-comprehension chorus of Guns, Razors Knives and a weird little whoooo that ends the chorus.

“Sextape” is a surprisingly gentle song, opening with an echoed guitar riff and one of Chino’s most gentle choruses.  “976-Evil” has an echoey guitar and voices not unlike the Cocteau Twins.  “This Place is Death” has another great alt rock feel–a big song with bright guitars and dark lyrics.  I haven’t really mentioned Frank Delgado on keyboards and samples.  He’s been with the band since White Pony, and I feel like his presence was made notable on a few songs here and there.  But it seems like on this disc he really comes to the fore, adding new textures and sounds to the album which really fill it out.

[READ: March 12, 2013] McSweeney’s #14

After the colorful extravaganza of the Comics Issue of McSweeney’s #13, this book settles down into something more somber  The book is softcover and all white.  The cover depicts a cartoon of George Bush with both legs blown off and the caption, “I Am So, So Sorry.”  On the spine in small print: “We’re praying as fast as we can.”  It is the most context-full cover they’ve done yet and, nearly a decade away it seems like a rather mean cover, but if I remember correctly at the time it seemed apt and delicious, especially in light of the upcoming election.

Yet despite the overtly political cover, the content inside is not political or even thematic (although it is pretty dark stuff).  Nevertheless, the table of contents gives us a small joke when it says “To help you know which stories to read first, we have indicated with either a * or a † those that deserve special consideration from you, the reader.  If you see either a * or a †, do not miss that story.”  Of course every story has either a * or a † but they cleverly did not put any kind of pattern to the symbols.

The colophon explains that when they were in Ireland, they met an actual Timothy McSweeney.  He had been given a copy of Issue #3 and then promptly forgot about the magazine.  But when McSweeney’s was in Galway to do a reading at the Galway Arts Festival, Timothy (Ted) McSweeney traveled from Dublin to check it out (not a short trip).  This also resulted in a letter from Mr McSweeney which is actually quite funny.

There are also illustrations in the book, although they are small illustrations and are placed on the title of each piece in the book.  All of the illustrations are old, mostly coming from the 1800s, although one dates back to 1670.  They illustrations are all technical scientific ones and don’t have anything to do with the stories. (more…)

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It was a robin’s egg and it was blue. Such is the oft-repeated line in the title track. It’s another great single from Superchunk:  poppy and cool and fun to bounce around to.

The second song, “On the Mouth” is a much faster, more punk track, apparently about frustrated love.

The final track is a live version of the song “Fishing.”  It’s one of the few live Superchunk tracks that I’ve heard (and it lasts over 5 minutes!).  It’s full of feedback squalls and lots of noise.  When the drums eventually kick in, it’s a fast-paced thundering experience.  The squealing guitar (and feedbacking outro) leads me to suspect that their lives shows were even more energetic than their albums.

[READ: October 4, 2010] “The Warm Fuzzies”

I have The Children’s Hospital from Adrian which I’ve been meaning to read for ages, but so many other things get in the way.  I have read a few of his short stories in McSweeney’s and the New Yorker. Adrian’s story was the final one of the 20 Under 40 stories in this year’s New Yorker list.

I felt this story was a little clunky at first.  I had a hard time keeping the story straight. And yet, once it settled down I found it really engaging and rather fascinating.

The story is about the Carter Family.  Not that Carter family, but another singing Carter Family. One day both mother and father Carter woke up and decided to stop being just the Carters; they decided to devote their life to Jesus in song.  And so, as it opens, we see The Carter Family practicing another one of their four chord songs.

In this particular practice, a new kid is playing the tambourine.   This new kid is, like all of the other new kids, a foster child and black.  This new foster child is named Paul, although he tells them all his name is Peabo.

The confusing thing in the beginning was just getting the hang of who all the family members were.  But once they were settled in, it was very easy to keep straight, and more importantly, to get hooked into the story.  We get a brief look at the family before music enter their lives, and we see how the children treat each other.  Each new foster child brings something new to the sound. And Paul/Peabo brings a bit of unexpected flair to their rather tepid music.  But the only one who seems to notice is Molly.  And really, this is Molly’s story. (more…)

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This week’s New Yorker contains a list of the 20 authors under age 40 that they predict we’ll be talking about for years to come.  Their criteria:

did we want to choose the writers who had already proved themselves or those whom we expected to excel in years to come? A good list, we came to think, should include both.

They have published eight of these authors in the current issue and are publishing the remaining 12 over the next 12 weeks.  I’m particularly excited that they chose to do this now.  Since I’m currently involved in two big book projects, it’s convenient to be able to read a whole bunch of short stories to intersperse between big posts.

I’ve read half of the authors already (likely in The New Yorker and McSweeney‘s).  And have heard of many of the others.   The list is below: (more…)

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SOUNDTRACK: DO MAKE SAY THINK-Other Truths [CST062] (2009).

I’ve always enjoyed Do Make Say Think’s CDs.  They play instrumentals that are always intriguing and which never get dull.

But this CD far exceeds anything they have done so far (and  they’ve done some great work).   There are only four tracks, and they range from 8 to 12 minutes long.  Each track is named for a word in the band’s name: Do, Make, Say, Think.  And each one is a fully realized mini epic.

“Do” sounds like a gorgeous Mogwai track.  While “Make” has wonderfully diverse elements: a cool percussion midsection and a horn-fueled end section that works perfectly with the maniacal drumming.  “Say” is another Mogwai-like exploration, although it is nicely complemented by horns.  It also ends with a slow jazzy section that works in context but is somewhat unexpected. Finally, “Think” closes the disc with a delightful denouement.  It’s the slowest (and shortest) track, and it shows that even slowing down their instrumentals doesn’t make them dull.

It’s a fantastic record from start to finish.  This is hands down my favorite Constellation release in quite some time.

[READ: December 2009 – January 13, 2010] McSweeney’s #33.

The ever-evolving McSweeney’s has set out to do the unlikely: they printed Issue #33 as a Sunday Newspaper.  It is called The San Francisco Panorama and, indeed, it is just like a huge Sunday newspaper. It has real news in (it is meant to be current as of December 7, 2009).  As well as a Sports section, a magazine section and even comics!

[DIGRESSION] I stopped reading newspapers quite some time ago.  I worked for one in college and have long been aware that the news is just something to fill the space between ads.  I do like newspapers in theory, and certainly hope they don’t all go away but print issues are a dying breed.  When I think about the waste that accompanies a newspaper, I’m horrified.  Sarah and I even did a Sunday New York Times subscription for a while, but there were half a dozen sections that we would simply discard unopened.  And, realistically that’s understandable.  Given how long it took me  to read all of the Panorama, if you actually tried to read the whole Sunday paper, you’d be finished the following Sunday (or even two Sundays later).

Their lofty goal here was to show what print journalism can still do. And with that I concur heartily.  Even if I don’t read the newspaper, the newspapers as entities are worth saving.  Because it is pretty much only print journalism that finds real, honest to God, worthy news stories.  TV news is a joke.  There is virtually nothing of value on network TV.  Fox News is beyond a joke.  CNBC is sad (although Rachel Maddow is awesome!) and even CNN, the originator of all of this 24 hour news nonsense still can’t fill their airtime with non-sensationalized news.

Obviously, there are some decent internet sites, but for the most part they don’t have the budget to support real news investigation.  You either get sensationalized crap like Drudge or rebroadcasts of real news.

So, print is the last bastion of news.  And you can see that in journalistic pieces in The New Yorker, Harper’s, The Walrus, Prospect and, yes, in newspapers.

But enough.  What about THIS newspaper?  Oh and unlike other McSweeney’s reviews I’ve done, there is NO WAY that I am writing a thorough comment on everything in here.  There’s just way too much.  Plus, there are many sections that are just news blurbs.  Larger articles and familiar authors will be addressed, however.  [UPDATE: January 18]: If, however, like Alia Malek below, you bring it to my attention that I’ve left you out (or gotten something wrong!) drop me a line, and I’ll correct things.

There is in fact a Panorama Information Pamphlet which answers a lot of basic questions, like why, how and how often (just this once, they promise!). There’s also a Numbers section which details the size, scope and cost of making this (it shows that with an initial start up, anyone could make a newspaper if they talked enough about what the readers were interested in). (more…)

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32SOUNDTRACK: TINDERSTICKS-Tindersticks [the red one] (1993).

tsTindersticks are a fascinating band.  The first distinctive thing about them is Stuart Staples’ voice: a deep rich bass that he uses almost like a whisper.  The second thing you notice is the music.  It’s an orchestral/chamber pop collection of dark rockers with fantastic moodiness to it.  And then you notice the lyrics: dark songs of lost (and decayed) love.

Yet despite the description of chamber pop, the nad is really much darker than chamber pop suggests.  The band has a very noir sound: organs that penetrate through walls of sound, tinkling pianos suring hushed moments.  The horns and strings add dark atmospherics (strings zing like a Hitchcock movie).  And the minor key chords are rich and loud.

You also get a song like “Whisky and Water” which genuinely rocks hard (loud guitars are featured).  Or a simple acoustic guitar driven song like “Blood.”  Throughout the disk you get these fantastic melodies that play off of Staples’ voice and the twisted lyrics.  “City Sickness” and “Patchwork” are just two of the tracks that are very catchy.

And then there’s the fantastic “Jism” with its awesome noir organ.  Or “Raindrops” with its accents of vibes and the beautiful piano trilling at the end (and the detailed and emotional lyrics: What we got here is a lazy love / It mooches around the house / Can’t wait to go out / What it needs, it just grabs / It never asks / We sit and watch the divide widen / We sit and listen to our hearts crumble”).  “Her” follows up with a wonderfully flamenco-infused spaghetti western number.

And lets not forget “Drunk Tank” a propulsive song that is as sinister as it is catchy.  Oh heck, I could just keep raving.  But there’s 22 songs!   Four songs are about a minute each, and the disc is about 75 minutes (not bad for a debut!).  And the disc never loses momentum or its sense of purpose.

What really distinguishes this disk is the mood of the music.  Like the best soundtracks, you can feel the emotions and imagery with the music alone, but when you add Staples’ evocative lyrics and powerful voice, it’s a deadly potent combination.

The disc was reissued a few years ago with a bonus disc of demo tracks.  The demos are surprisingly rich (they’re not at-home recordings or done without accompaniment) so they don’t differ that dramatically from the originals.  But they have a slightly less polished feel, which doesn’t hurt the band at all. There’s also a demo of the fantastic “For Those…” which doesn’t appear on the original disc.

I have to thank my friend Lar for getting me into this band. (Thanks Lar).

[READ: October 19, 2009] McSweeney’s #32

The concept for this issue is this: McSweeney’s asked several authors to “travel somewhere in the world–Budapest, Cape Town, Houston, any sleepy or sleepless outpost they could find–and send back a story set in that spot fifteen years from now, in the year 2024.”

And so, all of the stories are vaguely sci-fi-ish in that they are future related, but they are all grounded very heavily in reality, in particular, the reality of individuals trying to live in this future world. (more…)

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CV1_TNY04_20_09.inddSOUNDTRACK: PEARL JAM-Ten (1991).

tenFor me, Nirvana was the band that brought the 1990’s into alternative-rock-land.  But, it was Pearl Jam that brought hard rocking music back to the masses. Like everyone I know, I loved Ten.  But I gradually lost excitement about Pearl Jam over their next couple of records.

Then something interesting happened; in the span of a few months, someone loaned me a copy of Binaural and Pearl Jam released a whole bunch of live CDs all at once.  (72 to be exact).   Being indecisive, I decided to get the whole set (directly from the band), and so I immersed myself in Pearl Jam.  (My friend Lar asked if it was because I wanted to have 72 copies of “Jeremy.”   Amusingly “Jeremy” actually only appears on a couple of the discs, but I think there are 72 versions of “Do the Evolution.”)   By the end, I had a fundamentally new respect for the Pearl Jam albums that I hadn’t really listened to.  I also had some newly favorite Pearl Jam .

The interesting thing about the live discs was that many of the songs were performed faster than on the originals, but not so much with the songs from Ten…they kept all of the power and excitement and transported it perfectly to the stage.

Ten has just been reissued as a remastered disc and a remixed disc. (It comes in 4 different packages, but I couldn’t justify splurging on the big package even if I did splurge on the live discs way back when…I’ve got two kids now, after all).  I’m currently digesting the remixed version of Ten, but I wanted to revisit the original disc for comparison.

Man, I must have listened to this disc a hundred times.  And even though I haven’t listened to the disc in quite some time, I was amazed at how I remembered everything.  And it still sounds amazing.

One of the things I noticed this time around that deepened my appreciation for the disc was Jeff Ament’s bass.  Unlike some albums where the sound is consistent on every track, on Ten, Ament plays two or three different bass sounds that bring a strength of diversity to the album.  He’s got a watery, fretless bass sound that brings fantastic fat bass to some songs, and then he’s got his hard, electric bass for some others, and the 12-string bass that you hear in “Jeremy.”  He’s also not afraid to mix up the bass lines, so he’s not just keeping time with the beat.

And back to the album: there’s not a bad song on Ten.  The first 6 tracks, in fact, would be classic tracks for anyone.  “Once” starts of with a bang; “Even Flow” shows a slower and more melodic side; “Alive” introduces the anthemic chorus, “Why Go” shows their punk roots; “Black” has just about everything; and “Jeremy,” well, everyone knows “Jeremy.”

The next song slows the album down a little.  “Oceans” is a bit of a misfit on this disc: it’s rather mellow, it doesn’t have a chorus per se and I don’t know that it would be anyone’s favorite song.  And yet, that great watery bass plays through the whole thing making it exquisitely beautiful.  It’s also a fun one to sing along to as it’s mostly just ooohs.  They wisely kept it to under three minutes, providing a nice break from the proceedings but not losing the overall momentum of the disc.

And then we’re back: “Porch,” starts fast and gets furious as the chorus culminates, “Garden” is a slow but intense number, and “Deep” gives Eddie one more chance to scream before the conclusion. “Release” provides a great slow down after the adrenaline of the disc.

The entire disc is singalongable.  And there’s not a bad thing I can say about it.  Even after nearly twenty years the disc still sounds fresh and amazing.

[READ: April 16, 2009] “A Tiny Feast”

This has such a weird conceit for a story.  A little boy has contracted leukemia, and his parents sit with him every day as they do the chemo.  The twist is that his parents are actually immortal beings, and he is a human.  They acquired the little boy (named Boy) when Oberon was feeling guilty for making Titania mad. He stole a human boy from a family and presented him to Titania as a gift.  At first she was still mad at Oberon and wanted nothing to do with her new pet, but she slowly grew to love the Boy.  And when the boy became sick they took him to a human hospital. (more…)

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