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Archive for the ‘Food’ Category

SOUNDTRACK: hiatus

[READ: December 20, 2021] Weird Accordion to Al [Vanity Edtion]

This book came to my work and I said, Hey I have this!  And then I said, but my cover is orange.  What gives?

And then I saw that Rabin, inspired by Al’s Ill-Advised Vanity tour expanded this book.  Or actually, since there is very little information about these books, perhaps he wrote them at the same time and released a shorter and longer version.  But why would he do that?

The first 366 pages are the same but, (and here’s the thing that messed with my head) they are not exactly the same.  Now, I didn’t read the same text in both books and compare them (that would be really insane). But I did flip through the book comparing paragraph and chapter breaks.  The text appears to be the same in both books.  BUT, the paragraphs are not!  For reasons that I don’t understand, in book 1 some pages end with paragraph F, but in book 2, with the same exact text, the page now ends with paragraph E.  Like the spacing of a period threw off all of the justification (Users of Word will know what I’m talking about).

So I’m assuming that both books are the same.

And then the new stuff was added to Book 2 (or taken out of Book 1, whatever).

Starting on page 368 we move on to Other Stuff. (more…)

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SOUNDTRACK: hiatus

[READ: December 20, 2021] Weird Accordion to Al

After writing the “Weird Al” biography, with “Weird Al” himself, Nathan Rabin dug even deeper into his “Weird Al” fandom to write a detailed account of, as the subtitle says, “Every ‘Weird Al’ Yankovic Album Analyzed in Obsessive Detail.”

“Weird Al” wrote the (short) introduction and then Nathan drops the needle on “Weird Al” Yankovic, Al’s 1983 debut album.

Nathan goes into varying degrees of detail on each of the songs.  Nathan was a rabid “Weird Al” fan from when he was a little kid.  And when he talks about how much he loves Al, you can see his deep abiding appreciation for everything Al has done.

Some songs get a paragraph, nut most get a page or so.  He usually talks about how much he likes (or loves) the song (and occasionally dislikes).  There’s nostalgia in the older songs and jokes and observations about contemporary things as well (Rabin’s politics poke through once in a while.  Good thing he’s a smart guy.

Because he did the Al biography with Al, he presumably got a lot of insight into the man and his work.  So although sometimes his insights seem like maybe he’s reading too much into a goofy parody, perhaps he’s on to things.  Maybe Al’s depth is deeper than rhyming Sharona with Bologna.  Which is not in any way to diminish Al’s intelligence.  He’s obviously very smart, especially as his later songs indicate.

Rabin’s tone throughout the book is smart and snarky.  He talks about the songs and the video (if there is one).  He talks about the production quality (or lack thereof) on the first album.  He references Dr. Demento (because the Dr is essential to Al’s career).  He also references Don DeLillo’s White Noise and says things like “Al is in deconstructionist mode.” (more…)

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SOUNDTRACKSHELLEY [fka D.R.A.M.]-Tiny Desk (Home) Concert #198 (April 26, 2021).

I’m always puzzled by the FKA in a singer’s name.  Is it part of the singer’s name? Is this singer’s official name Shelley FKA D.R.A.M.?  I don’t think so, I think it’s just for us to know who Shelley used to be.

When D.R.A.M. played the Tiny Desk back in 2017, he made a couple of things clear to us: His playfully dynamic personality was primed for the spotlight, and beneath the catchy hooks, there’s a real singer waiting to come out. For his Tiny Desk (home) concert, he does a complete 180. “It’s like a new beginning. Full circle. So this time, call me Shelley.” he says, following the opening track, “Exposure.” Everything is new. Silk pajamas and slippers replace the trench coat and plush beanie, and thanks to lifestyle changes, he’s slimmed down quite a bit and goes by his government name now: Shelley.

I enjoyed D.R.A.M and his vulgar silliness.  But Shelley is one of those singers who intends to hit every note every time he holds a long note.  He whines up and down the octaves constantly and I hate it.  I know that there are listeners who love this as the blurb admires

The shift from lighthearted melodic hip-hop to full-on R&B crooner shouldn’t come as a surprise to anyone who’s seen him perform live. It feels like it’s his way of saying, “Now that I have your attention, allow me to introduce myself.” We still get glimpses of the “Big Baby” here and there — the charm, a little bit of silliness, and the million-dollar grin — but other than that, it’s grown folks business and vocally flawless performance.

For the Shelley Show, he gathers a groovy band in front of a massive bookshelf and runs through selections, including the premiere of “Rich & Famous” from his upcoming self-titled project, due out on April 29, his late mother’s birthday. If D.R.A.M. was the ploy to break into the music industry, then Shelley is the longevity play.

“Exposure” and “The Lay Down” really accentuate his new vocal style.  But I liked the music of “Cooking With Grease.”  The simple drum beat from Keith “KJ” Glover and then the live viola from Yuli (a highlight throughout).  Sensei Bueno follows the melody on guitar and the song grows from there.

Of the four songs, I liked “Rich & Famous” best.  Trey Mitchell plays a grooving bass line, the backing singers Crystal Carr and David Fuller are ah ha-ing.  Sensei Bueno is wah wahing the  guitar and SlimWav is floating the keys around.  Shelley’s voice stayed low and less whiny.  Is he really going to try to make it with the name Shelley?

[READ: May 10, 2021]  “The Way We Are”

Reading this essay in 2021 was a really uncomfortable experience.  David Sedaris is not afraid of saying a risqué thing or three. But it’s amazing how much things seem to have changed in 13 years.

This essay begins in Normandy with David saying that the city shuts off the water without any warning.  Usually it’s a construction project or something.  It usually happens when David gets up around 10:30, which is practically the middle of the day for Hugh and the neighbors.

What they do at 6AM is anyone’s guess, I only know that they’re incredibly self righteous about it, and talk about the dawn as if it’s a personal reward bestowed on account of their great virtue.

The last time the water went off, David had a coffee problem. In order to think straight, he needed caffeine.  In order to make this happen he needed to think straight.  One time he made it with Perrier which sounds plausible but isn’t.  He tried leftover tea which might have worked if the tea weren’t green.  This time he decided to use the water in a vase of wildflowers that Hugh had picked. (more…)

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SOUNDTRACK: STING-Tiny Desk (Home) Concert #183 (March 22, 2021).

Sting starts this Tiny Desk Concert with a duet on “Englishman/African in New York” which is exactly how he started his previous Tiny desk Concert back in 2019.  In fact, since this is a duet, I wondered if I had accidentally cliked on the wrong concert.

But the previous Concert was a duet with shaggy and this one is a duet with Shirazee.

During the pandemic, Beninese pop star Shirazee adapted his own rendition of Sting’s classic “Englishman in New York” into “African in New York.” His version made its way to Sting, who loved it so much that he asked Shirazee to lend his voice to his Tiny Desk (home) concert and record for his new Duets album.

I never loved this song, but I’ve always liked it.  But I really like the way it has taken on a life of its own with these new duets.  And the “African in New York” parts shine a new light on the song and show its universality.

Shot in a lounge in NYC where Sting’s presently recording another album, these two gentlemen share a touching moment between songs, expressing their mutual admiration and discussing the sheer joy about a simple concept – performing in a room together after 12 long months of isolation and virtual collaborations.

Sting comments about how the song has had multiple lives: a Jamaican in New York, a Somalian in New York and now a Benin man.  Shirazee says, “Benin man in New York, I should have said that why didn’t I say that?”  When Shirazee thanks Sting, he replies, I’m always delighted when artists take the template I’ve written and make it better made it different.  Shirazee thanks him again and then says, and now I can’t wait to get a free Sting concert.

Sting jumps into a stunning acoustic performance of “If I Ever Lose My Faith in You,” another one of his many classics. The timbre of his voice conjures a sense of carefree familiarity, reminiscent of times with more levity and peace.

He sounds really good and definitely has fun vamping at the end of the song.

His finale, “Sister Moon,” is a gem from his 1987 solo album, Nothing Like the Sun, that rarely gets performed live.

I don’t know this song, but it sounds really good, just his voice and his resonating guitar.

[READ: March 31, 2021] “Tasteless”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

This is one of David Sedaris’ really funny essays.  There’s so many great lines.

He starts by saying that he was promised that when he quit smoking his sense of taste would remarkably improve–like putting on a pair of glasses that are your prescription.

But after six months he’s having no luck.  However, he was never an attentive eater.  He’d thank his mom for the fried fish and she’d say it was chicken or even veal.

She might as well have done away with names and identified our meals by color: “Golden brown.” “Red.” “Beige with some pink in it.”

In addition to not tasting things, he says he is a shoveller.  As if he were a prisoner, encircling his plate to fend off the others. (more…)

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SOUNDTRACK-XAVIER OMÄR-Tiny Desk (Home) Concert #181 (March 15, 2021).

Xavier Omär has a fantastic voice–one that I thought was rather unexpected given his appearance.  He’s a pretty big guy and seems like he’d have a deep resonant voice, but his voice is really soft and high.  And powerful.

He’s also had a pretty interesting career.

Omär’s career began in Christian music under the moniker SPZRKT, before he moved into secular R&B and hip-hop. Through his first couple of projects and work with Seattle DJ and producer, Sango, the 27-year-old singer’s heart-on-sleeve approach quickly created a buzz.

He says that the whole band is from San Antonio Texas.

Xavier Omär decided to turn his Tiny Desk home concert into a whole Texas affair. Initially, Omär wanted to recreate the look of the Desk: “I wanted to kind of bring the feeling of Tiny Desk back, so I had booked a library,” he said. Ultimately the library didn’t work out, but Rosella Coffee and Wine in his home base of San Antonio proved to be a great match for his sound–spacious and airy.

“Like I Feel” opens with some grooving bass from Korey Davison and wailing sax from Kevin Davison.  Josh Greene adds some big drums fills and guitarist Billy Ray Blunt Jr. plays some wailing leads.  Xavier trades off lead vocals duties with Talyce Hays whose voice is also terrific.

During “Blind Man” he throws in some rapping–a softer cadence, but to good effect.  There’s some response backing vocals from Jay Wile while Alana Holmes and Hays fill in the backing vocals.   Lyrically the song is kinda lame (sweet, but lame), but there’s some cool musical moments–splashes of four notes and more than a few tempo changes.

For good measure, he plays the song that put him on the map, 2016’s “Blind Man.” This is undoubtedly Xavier Omär’s best live performance on record.

I had no idea that this was his breakthrough song.

He tells a quick story (it’s amusing) about how he wishes he was at the beach.  But even if he can’t get there he can think of the the rhythm of the waves and the “SURF.”  He says he could enjoy the surf because his woman has that “splah” (?).  Its’s a pretty ripping song with, again, surprising tempo changes.  The song has moments that I would say come from Frank Zappa’s oddball melodies.  Ands once again, the drums are massive.

He says “So Much More” is the wedding song of the year.  It features Justin Crawford on keys and is a much more mellow song than the other.  It also allows Xavier to really show off his voice.

The Alamo City resident and his cohorts orchestrated a charismatic and vocally rich show. The set list perfectly depicts the emotional arch of if You Feel. He’s on a clear path to greatness in R&B music.

It was probably a smart move to go secular.

[READ: March 31, 2021] “A Man in the Kitchen”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Donald Antrim starts this rather sad memory with an amusing story.

His father learned how to cook when his mother served “hot tuna-and-mayonnaise casserole with potato chops as a decorative garnish.”

This story had become Received History in the family: “Baked mayonnaise! I had to take action!”

Soon cooking had become his father’s second full time job.  He taught literature at the University of Virginia and then he would drive around buying all of the food stuffs for their meals.  He would travel to different markets for different foods and he was an early adopter of the Cuisinart. (more…)

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SOUNDTRACK: BLACK COFFEE-Tiny Desk (Home) Concert #180 (March 11, 2021).

Black Coffee is such an excellent name.  And yet the music he creates is nothing like what I was expecting.

Born in Durban and raised in the Eastern Cape in Mthatha, Black Coffee’s subculture of soulful … house music has always been about love. It’s a form of sonic escapism that provides a sanctuary for all beings, regardless of race, age, or gender. Therefore, it’s only fitting that Black Coffee rocks a tee embossed with “I Heart You” across his chest.

Black Coffee stands behind a big mixing board as he generates most of the sounds.  Although next to him is Pansula on the drums.  And Pansula is possibly the real star of this set, with his persistent and powerful rhythms.

Black Coffee, a figurehead of the global South African dance movement, is known for his undeniable DJ sets and AfroHouse anthems that (under normal circumstances) light up dancefloors around the world. He brings that same feeling to his Tiny Desk (home) concert, but with a unique configuration: live instrumentation.

Kicking off the set is “You Rock My World” featuring Soulstar, a classic dance joint from his Africa Rising album whose convergence of pulsating percussion, a calming melody, and the sultry vibes of Soulstar’s voice feels like a spiritual palette cleanser.

It starts with drums and drums and more drums from Pansula.  Black Coffee’s samples provide most of the music with some fleshing out from Nduduzo on the keys.  Then Godfrey Mntambo plays some sultry sax as the lead melody.

The backing singers (Musa Nhlapho, Sandisiwe Sishuba and Bonokuhle Nkala-Mtsweni) start cooing and then lead singer Soulstar sings.

“Flava” is up next with lead vocals from Una Rams and Tellaman.  My favorite part comes at the end of each verse as Black Coffee thumps the bass and Pansula echoes with cymbals.  The gentle keys on this track provide some nice high end amid all the bass.

“Flava” and “Wish You Were Here” come from his new LP, Subconsciously, whose litany of special guests — include Diplo and Pharrell.

“Wish You Were Here” is a bit more mellow and includes a much wider array of samples–guitars, flutes and crashing sounds.  Singer Msaki has an Annie Lennox vibe and sounds really great.  Nduduzo plays a jazzy piano solo as the song nears the end, which adds a fun new component to this house song.

[READ: March 31, 2021] “Real Food”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Chimamanda Ngozi Adichie explains that when she was little she hated garri, a food served for lunch every day except Sunday in her house.  Her mother was concerned that she was not eating at all and sat with her to watch her eat the garri.

It was made in various ways, with different ingredients (primarily yams) but was always cooked, stirred or pounded in a mortar until it became a soft mash: “it was jokingly called ‘swallow,’ because one swallowed the morsels without chewing.” (more…)

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SOUNDTRACK: COMING 2 AMERICA, SOUNDS OF ZAMUNDA-Tiny Desk (Home) Concert #179 (March 10, 2021).

I thought that this name meant that it was the soundtrack for the movie.  But no, this release highlights

the new compilation Rhythms of Zamunda: Music Inspired By Coming 2 America.

Tenuous connection to the movie, perhaps, but the results are great:

six artists representing four countries in Africa perform a megamix of selections from the project. Each performance from the pan-African project bridges the distance between the countries and cultures.

The songs jump back and forth to different locations

In addition to the sweeping range of the showings, the look of each set is stunning: vibrant, opulent colors; meticulous Tiny Desk shelf recreations; gorgeous African artifacts; and a few nuggets dedicated to King Akeem of Coming 2 America.

The majority of the songs are filmed in South Africa.

South Africa’s Nasty C — who’s arguably the biggest rapper on the continent — opens the set and trades verses with Tiny Desk alumni Ari Lennox on “Black and White.”

The set looks like the original Tiny Desk Room with cluttered bookshelves.  I like the lines where Nasty C pauses before saying the last word.  Ari Lennox’s vocals are really great.  Fundile “FD” Dlamini plays drums while Christer Kobedi and Vaughan Fourie play keys.

He then sends us over to Cameroon for some Afrobeats flavor, courtesy of Locko and his stripped-down version of “Magnet.”

His book-filled room is also a nice backdrop.  I enjoyed this song more than the previous because of all the instrumentation–drums (Marc Nzana), guitar (Benjamin Mouangue Bossamo), cool bass (Joel Parfait Ondigui) and even a violin (Martien Oyono).  Brice Essomba fleshes out the songs on the keys.

We then circle back around to South Africa to hear from R&B newcomer Ricky Tyler.

It’s the same set as Nasty C, but this time with a full band.  There’s deep bass from Tendai “Shoxx” Shoko and soft guitars from Innocent Mzizi.  The keys from Zādok float throughout grounded by drums from Tino “Beatboy” Damba.

From there, we head north to Nigeria to do the “Jiggy Bop” with Alpha P.

Alpha P is lounging on a zebra bean bag chair.  Then his hype man (David Osang?) gets everyone going and then comes a seriously funky bass from Ayodele Agbabiaka Oluwasegun.  Rocking guitars from Best Amakhian and rocking drums from Ebenezer Olayinka really power this fun dancey jam.  Olabiyi Julius sprinkles melodies from the keyboards throughout.  The backing vocalists (Agu Chinyere Gift, Tosin “SDK” Tade, Femi Jacobs) keep the song flowing nicely.

Then it’s back to that original set as

we take one last trip to South Africa for award-winning dance DJ and producer Prince Kaybee’s “Fetch Your Life,” featuring Msaki.

I haven’t heard of Msaki but her voice is really beautiful.  Prince Kaybee lays down a thumping ground track (while wearing one glove to twist the knows).  There’s a cool guitar solo from Zādok (who returns to show off his multi-instrumental skills) and gentle keys from Fundile “FD” Dlamini.  Like with the other songs, the thumping bass, this time from Katleho Motlatla really grounds the song.

Finally, Togo duo Toofan dares us not to dance to “Yé Mama.”

This song has a great island feel with lots of percussion (Therence Egue), grooving bass (Martin Lawson) and vocals from Barabas and Masta Just in French.  When Lionel Adjovi plays his guitar licks you can really hear where Paul Simon got the tunes for Graceland.  Paul Akakpo keeps the sound full on the keys while Sylvie Akpedjo and Lamabara Paul provide backing vocals.

This is a pretty great introduction to music from all over Africa.

[READ: March 31, 2021] “Choke”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Anthony Lane was in France on a student exchange program.  The family he stayed with was wonderful.  Until they dropped an artichoke on his plate.  It steamed with the promise of pure malice.

Can you imagine a food less appetizing than one that possessed: “bristles, bottom and choke.”

The family watched him in bemused delight as he tried not to look like a an irredeemable hick–not knowing what to do with this hand grenade

He watched Madame rip off a spiky leaf, dip it into butter and then eat the inside.  He followed suit and felt like Tigger eating one of Eeyore’s thistles. (more…)

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SOUNDTRACKFLEET FOXES-Tiny Desk (Home) Concert #178 (March 9, 2021).

I absolutely loved the first Fleet Foxes album.  The harmonies were just outstanding.  And then after a couple more records, Robin Pecknold pretty much made Fleet Foxes a solo project.  Since then I have found most of his songs to be really pleasant, but not all that memorable.

I’ve listened to the new album, Shore, a few times and only two or three songs really stand out for me.

But the sound of this Tiny Desk is amazing.

“I’m Robin Pecknold from Fleet Foxes. Thank you so much for asking me to find the tiniest desk I could, and sing unadorned for the first time in too long.”

With his guitar and that unadorned voice, Robin Pecknold performs four songs from Fleet Foxes’ 2020 album, Shore. … Robin wrote the songs while driving in the Catskills and (as you hear on “Going-to-the-Sun Road”) Montana, a place that feels like home.

“Going-to-the-Sun-Road” is a quietly picked song.  His voice sounds great and the melody is really lovely.  I think my favorite part might be the end where he sings in Spanish.

He gets an amazing sound from his acoustic guitar.  I can’t get over how softly he seems to be playing the strings and yet how full it sounds.

“Sunblind” is the catchiest song on the new album.  I hadn’t realized until reading this that it

pays homage to some of the greats that we’ve lost — some more recently, including David Berman and Richard Swift, and some long gone but still influential, like Elliott Smith, Curtis Mayfield, Jimi Hendrix and Judee Sill.

“Featherweight” is a reasonably catchy song–especially at the end where he has those repeating three note melodies.

“I’m Not My Season” ends he set with a slow, pretty ballad.  The song has some very nice melodies in it.

I’m curious how long it will take for this album to really resonate with me.

[READ: March 31, 2021] “Grandmother’s House”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Nell Freudenberger was on a flight to Rochester–her grandmother had just died.  She was reading Amitav Ghosh’s novel The Hungry Tide which was set in the Sundarbans in Bangladesh: “one of the last places on earth where humans are occasionally consumed by tigers.”

A young couple sat next to her on the plane and the woman said she was born in the Sundarbans and that her grandmother still lived there. They exchanged contact information and the woman, Farah said that the next time she was returning to Bangladesh, Nell would have to go.

Farah had considered staying in a local guest house, but her nanu  and auntie were insulted that they would even think of not staying with them. (more…)

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SOUNDTRACKKIRK FRANKLIN-Tiny Desk (Home) Concert #175 (February 25, 2021).

Religion is inextricably linked to gospel music, which I think is rather a shame became gospel music can be a lot of fun, regardless of the lyrics.

If I wanted religion in my music I would call on Kirk Franklin in a heartbeat.  His songs are super catchy and inspirational and he is a great band leader.

For nearly 30 years, Franklin has been widely regarded for revolutionizing gospel. He incorporated secular music, particularly hip-hop, while preserving the message and integrity of traditional gospel. Here, he and his powerhouse choir pace through a decades-long, sixteen Grammy award winning discography of faith, praise and encouragement while cracking plenty of jokes. I cannot recall a more moving Tiny Desk home performance.

The set begins with “Love Theory.”  Franklin doesn’t even sing on this one, leaving it up to the rest of his singers [from left to right Darian Elliot, Eboni Ellerson , Michael Bethany, Deon Yancey, Melodie Pace,  Tia Rudd] to croon the melodies.

He gets up and claps his hands.  He even does some dancing behind the keys.  His energy is undeniable.   And actually, this one could be secular: “I don’t love nobody but you.”  By the end of the song, he tells everyone to make it bounce y’all and the funky bass from Matthew Ramsey kicks in heavy.

Kirk Franklin, set up with his band and choir in a corner of Uncle Jessie’s Kitchen, makes a declaration. “I know you’re at home right now, in your draws, listening to some Jesus music. It’s ok. Jesus loves you in your draws!”  Those are your draws!  He blessed you with those draws.

“Silver and Gold” slows things down old school.  Franklin plays the piano but it’s all about the harmonies that the singers include.  They keep building on the word “gold” getting bigger and bigger to a huge, outstanding peak.

The Arlington, Texas studio, named after a long time close friend, features a large photo of the iconic “I AM A MAN” protest signs from the 1968 Memphis Sanitation Strike on the wall. The jubilant energy that Franklin and company emit, juxtaposed with a visual reminder of the strife that Black people have endured is illustrative of the importance of gospel music in the Black community.

He continues “If you still haven’t put any clothes on yet we gonna groove a little bit more. You in one sock, I see you with just one sock with a flip flop or a house shoe.  I see you.  You look crazy but Jesus loves you still.

“Melodies From Heaven” has a quieter intro, but it builds bigger and then Franklin gets up and dances around the room while Shaun Martin plays the keyboard and Terry Baker plays some crashing drums–But its all about that wild bass.

The song ends abruptly.  He says that’s all you gonna get now … but after the pandemic I’m coming to your house and I’m bringing everybody and we gonna do this in your living room, your living room–everybody gets a concert.

For the final song “I Smile” he gives this positive intro:

All you gotta do, no matter what you face, even if you don’t have all your teeth, even if you got one good tooth all you gotta do is smile.

It’s a fun, boppy song with some more terrific drums at the end.

If all church was like this, more people might go.

[READ: March 31, 2021] “Sixty-Nine Cents”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Gary Shteyngart’s family moved to the United States when he was young and by the time he was fourteen, his accent was mostly gone.

He now had three goals: to go to Florida and Disneyworld, to have a girl say she liked him and to eat at McDonald’s.

His parents did not believe in spending money–they bought clothes “by weight on Orchard Street.”  Despite their frugality, their parents agreed on a trip to Disney.  The tickets were free after a timeshare presentation.
“You’re from Russia?
“Leningrad … please Disney tickets now.”

They drove to Florida and stayed in cheap motels along the way. (more…)

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SOUNDTRACK: JACK HARLOW-Tiny Desk (Home) Concert #176 (March 3, 2021).

Tiny Desk had posted exclusively black artists for Black History Month.  So it feels really weird to follow that up with a white rapper.  And, yes, it feels even weirder to see him surrounded by all black musicians–although they seem to be really into it, so clearly I’m the only one who finds it odd.

Jack Harlow is apparently huge, but I’ve never heard of him.  I am greatly puzzled by his outfit in this video.  Are those leather pants?  I can’t tell.  And with that jacket–he looks really uncomfortable.

The Louisville, Ky., emcee delivers a performance with the confidence of an old pro. His set, however, is the first time he’s relied solely on live instrumentation to bring his songs to life. “It’s been a long time since I had a chance to perform and I’ve never done it like this,” he says.  Over the past few years, the 22-year-old rapper has steadily ticked the boxes for a successful career, and this showing undoubtedly checks the performer section.

Indeed, for my mocking in the first paragraph, his flow is really smooth–and apparently more than a bunch of his fans didn’t realize he was white.

I’m disappointed, though, to hear that he doesn’t normally play with a band because this band is tight a anything.  Bassist Joe Cleveland is hot throughout playing some great riffs and runs and “Rendezvous” is a good opening for showcasing his skills.

He says he’s going to play a few songs that he hasn’t played before.

“21C / Delta” really shows off the backing vocalists (Erik B, Chimera Patrice, Porcha Clay) who sing the final word of each line and sing the chorus.  “21C” segues into “Delta” which has some cool improvised keyboard melodies from O’Neil “Doctor O” Palmer.

The orchestration underscores his sentimental and introspective side on songs like “Same Guy” and “Funny Seeing You Here,” but it also elevates the melody, which is the true hero here.

“Funny Seeing You Here” is a quieter song (he sits on a stool for that one) and has a thoughtful side.

He used to say her man was trash and tell me ’bout the way he’d act
I would shake my head until I realized I’m the same as that
Now I wonder, did she tell her man that I’m a trash dude?

“Same Guy” is one of the most honest songs he’s ever written.  It’s got some really great basslines and big vocal flourish from the backing singers.

“Creme/ONCE MAY COMES” features some great drumming from Rico Nichols (his drums sound great throughout including the electronics–the reverse cymbal sound is particularly cool and the big bass really pounds.  “Creme” segues into “ONCE MAY COMES” which is a slower jam.

There’s an awkwardly fake moment before the last song, where he says “I can’t lie fellas, I’m having a really good time. You think we could do one more, maybe?”

Harlow landed a big hit last year in “WHATS POPPIN.” That performance earned him a Grammy nomination ahead of his very impressive debut album, Thats What They All Say.  [I can’t IMAGINE the outrage if he’d won]

Musically this song is really catchy–it’s understandable why this was big hit.  Throughout the set guitarist Rob Gueringer has played some great solos and chords in the background, but he never gets a moment to show off how good he is.  Except near the end of this song when he gets to play a ripping solo to end the set.

[READ: March 31, 2021] “Lunch”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Cristina Henriquez details the joy of a family dinner held at lunch time.  This was either a Panama tradition or a family one–she was never sure which.

Every summer Cristina’s family would summer in Panama where her father grew up. It was very different from the Unites States but it was the same every year.

They stayed at her grandparents’ house and as Cristina woke up, she would smell the garlic that her grandmother was cooking in preparation for the lunch time feast. (more…)

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