SOUNDTRACK: LORDE-“Royals” (Live on KCRW, August 2013).
Lorde is evidently a huge hit in her native New Zealand. Not bad for a sixteen year old. And, indeed, her voice is not bad at all for a sixteen year old–she sounds much older (and perhaps it’s not even worth mentioning her age, but KCRW did, so I will too). She has a deep and sophisticated voice (in the way that young Fiona Apple blew me away with the intensity of her voice on her debut).
The song itself is quite plain (as are all of the songs on her entire KCRW performance). There’s primarily percussion (some really interesting choices there), simple keyboard notes or washes and (quite often) multi-layered voices–all prerecorded). And she sings over the sparseness with her powerful throaty voice.
Interestingly, for being a popular success, her songs aren’t all that poppy. They are certainly not bubblegum and some of the tracks are quite dark. (Although lines like, “let’s go down to the tennis court, talk it up like yeah” certainly don’t speak to any depth). And yet the songs are “topical” according to Lorde herself.
“Royals” might be the least interesting of the tracks during the set, and while I like it, I’m not sure why it became so huge. But fair play to her.
[READ: August 8, 2013] “Four O’Clock”
This book is a collection of H.P. Lovecraft works and items associated with him. Like this story from his wife Sonia H. Greene. In theory Lovecraft did not edit this piece (I venture no opinion) and so it stands as her own story.
It is a very simple story. Indeed, there is hardly any plot and only one character.
In this story the narrator (never identified as man or woman) says that at about 2 in the morning she knew it was coming. And it is coming at, yes, four o’clock. The narrator is terrified of what is coming and for much of the story, we don’t learn a thing about what it is. We just know through ever escalating fear, that it is coming.
Yuck put out a great albumin 2011. And then a principal songwriter and singer Daniel Blumberg left the band. So they regrouped and are coming out with Rebirth (due in the fall). This track is very My Bloody Valentinesque–big echoey guitars with gentle vocals on top of them.
The big difference comes in the bridge which seems a little more pop than most MBV songs. The chorus also has a few guitar notes that stand out as unechoed notes which also break the shoegaze vibe in a very interesting way. The biggest surprise comes at the end when the song turns into mostly drums with a bit of a keyboard/dancey feel. It’s just a touch to show that they are not simply mimicking shoegaze, they are using it in their own way.
I’m excited to hear what else the come up with.
[READ: August 8, 2013] “The Horror at Martin’s Beach”
This short story was written by H.P. Lovecraft’s wife, Sonia H. Greene. Apparently Lovecraft then edited/reworked it before publication in Weird Tales (when it was titled “The Invisible Monster”) although it seems every anthologized version has the “Martin’s Beach” title. For more about Weird Tales issues, check out Yankee Classic.
I’m not sure how much work Lovecraft did on this story as it doesn’t have any of the hallmarks of his own work. Indeed, it is a fairly straightforward story with none of the gods and supernatural eerieness that Lovecraft puts in his work. Which is not to say that this story doesn’t have supernatural elements, it’s just not Lovecraft’s supernatural elements.
In this short story, a group of sailors of the coast of Gloucester fought with an undersea beast for 40 hours before subduing it. The beast was huge–nearly fifty feet long and ten feet in its cylindrical diameter. Although it was clearly a fish, it also had small forelegs. Its skin was thick and, most peculiarly, it has one, giant eye. After it was dissected, scientists determined that despite the enormity of the creature, it was only a baby–simply a few days old. (more…)
I learn about music from the most random places. The other night we were watching the British dramedy Doc Martin (starring Martin Clunes and the wonderfully awful Lucy Punch). Punch’s character was talking to a boy who is interested in her. She mentions Portishead and how great “Glory Biox” is (true) and then they talk about John Martyn’s cover and how it’s even better (not quite).
I’ve heard of Martyn, but only barely. The boy says that he has all of Martyn’s albums (which seems surprising as he has a lot).
I can’t guess too much about Martyn from this cover, but I’ll guess he’s a bluesy guy.
The cover captures the essence of “Glory Box” and then runs it in a totally new direction–low and rumbly (voices and guitars). Interestingly, he shifts the song to the male perspective which makes the entire song have a totally different meaning. Neat trick, that.
I don’t love bluesy music as a rule, but I really like this version. Not enough to get his other music–and I do like the Portishead version better–but it’ still a nice discovery.
[READ: August 1, 2013] “From a Farther Room”
This story starts off pretty sanely and then quickly jumps in the realm of Wha??
As the story opens we meet Robert Childress. He is a married man with children. His family is away for the weekend and his wife has given him her blessing to go out and have fun. He meets Stearns, a bachelor who takes him out eating and drinking and drinking. There is talk of a strip club and lap dances but that idea is nixed. Nevertheless, Childress is very drunk–so much so that he takes a limo home (at what cost?) and then has the bed spins during the night–with the expected result.
So far so normal.
The weirdness comes when he is awoken by his dog. The dog who is nudging some… thing on the floor. Which, when Childress looks more closely, reveals itself to be… alive. Right where he threw up. Did he throw up a living creature? (more…)
SOUNDTRACK: HEY MARSEILLES-Live at the Newport Folk Festival (2013).
For reasons I’m unclear about, the first two songs (at least the first two listed on the NPR web page, (“To Travels & Trunks” and”Gasworks”) ) are not included in the download. But we do get the band’s introduction of themselves. So maybe the NPR list is wrong? Weirder things have happened.
The band drove all the way from Seattle and are pleased to announce that they are the first band to play the Festival (a nice, if insignificant piece of trivia).
Regardless, we get a solid 35 minute set. The band opens with “Heart Beats,” a folky song. Indeed, Hey Marseilles continues the tradition of large bands (6 members at last counting) who play folk music with lots of unexpected(ish) instruments. But the singer sounds quite a bit like Ben Gibbard. Indeed that first song sounds like a less commercial Death Cab for Cutie—you keep expecting a big commercial chorus to come but it doesn’t, and there’s something very satisfying about them not giving it to us.
Although the band does sounds quite a bit like DCFC (both in the voice and the arrangements), their instrumentation brings an unfamiliarity to the songs that makes them so intriguing—like when the accordion pops up put of nowhere in “From a terrace.” Or other songs where strings fill out a song–not in a “look we’re unplugged” sort of way but as natural part of the song. I really enjoyed their songs and may track down their CDs (and their cool scarf).
[READ: July 3, 2013] Mermaid in Chelsea Creek
This was the second YA book that McSweeney’s has released. It is (say it with me) the first book in a trilogy. And I have to say that I really didn’t like the first 100 pages.
There were a number of small things that kept me interested, but for the most part I found the story pretty dreadful. On a personal note I really didn’t like that the Chelsea Creek was not revealed to be in the Boston area until very far into the story. I hated that it was so specific (Chelsea) and yet so generic (which of the dozens of Chelseas was it?). But more importantly I hated that Sophie (the protagonist) and her friend Ella, play the ‘pass-out” game. In the game, one of the girls chokes herself until she passes out. The other girl watches and wakes the first up after about 30 seconds. This is what they do for fun This is their cheap high. And it constitutes a large part of the beginning of the story. So much so that when her mother finds out about it, she tells her doctor. And what made it all the crazier was that her doctor reveals that not only did she play the pass out game as a girl but she is sure her mother did too. And her mother says yes. What the fuck? Oh and her mother is mean and overworked and exhausted and generally always ready to fight with Sophie.
I imagine that if I had another book with me on vacation I would have put this down and read that one instead. But I pressed on, mostly because when Sophie passed out she saw a mermaid in Chelsea Creek, a filthy sewage filled river. (The fact that Ella is a germophobe is quite funny, especially when Sophie falls into the creek when she passes out). That kept me interested as did Dr Chen (the above doctor). Because the Doctor keeps pigeons on her roof and she has tied flutes to some of their tails so that they make beautiful music when they fly. This scene was so good–so briefly magical–that I forgave the rest of the book and gave it a blank slate. I was bummed when the pigeons went away, but was delighted when they came back a little later, once the magic began for real.
And there is magic aplenty. Especially as Sophie learns more and more about her family and neighborhood. (more…)
SOUNDTRACK: WE WERE PROMISED JETPACKS-“Quiet Little Voices” (2009).
When you have a book with “Jetpack” in the title, the appropriate band is We Were Promised Jetpacks, no? I’ve heard a lot of good things these guys. But all I knew for certain was that they were Scottish.
I listened to their debut EP, The Last Place You’ll Look, which I liked a little. But I didn’t care for the sound of the EP itself, it was rather flat. A few listens got me enjoying the melodies and such but it never grabbed me. Especially when I compared it to “Quiet Little Voices,” the lead single from their debut full length, These Four Walls.
The vocals are a bit stronger, the guitars and bass are both more clear. The overall feeling is just brighter. Now this may be a sign of selling out (is that something bands still do?), but really I think it’s just a better production for this song. Which has a big chorus (and good backing vocals).
I listened to a few more tracks from These Four Walls and they are all good too. I guess start with the albums and save the EP until after you’ve absorbed the band.
[READ: July 5, 2013] You’re All Just Jealous of My Jetpack
Gauld makes comics like no one else I know. Most of his people are silhouetted or are the most rudimentary designs–simple triangle-shaped clothes, circle heads with dots for eyes and little else–maybe a nose if it’s profile. (Okay, there’s a bit of Chris Ware, but more like a much more relaxed Chris Ware). And the wonderful thing is just how much he can convey with these painstakingly simple drawings.
The content of his comics is usually quite clever and often literary. While I admit there were some I didn’t get (Like the Eric Gill cartoon–shame on me?–Aha: “[Gill’s] personal diaries describe his sexual activity in great detail including the fact that he sexually abused his own children, had an incestuous relationship with his sister and performed sexual acts on his dog.” Geez, now the comic is very funny.). There were some in which I liked the set up but would have preferred something funnier (like the Tom Waits comic–shame on him?)
But overall this collection was really enjoyable. And I laughed a lot. (more…)
Steve Harris was on That Metal Show recently. Harris is the bassist and primary songwriter for Iron Maiden and has been since their first album in 1980. When I was in high school Iron Maiden was my favorite band hands down. I had all their albums, I had all their singles, all their hard to find British vinyl 12 inch singles, even a few pictures discs. Wonder if they’re valuable?
Every album was an epic event for me–I even played “Rime of the Ancient Mariner “off of Powerslave to my English class (not telling anyone it was 13 minutes long).
And then, after Somewhere in Time, I just stopped listening to them. Almost full stop. I did manage to get the first four albums on CD, but the break was pretty striking. I actually didn’t know that they’d had personnel changes in the ensuing years. I’d vaguely heard that Bruce Dickinson left, and that others followed, but I don’t think I quite realized that they were back to their big lineup these days.
Anyhow, Harris was so earnest and cool that I had to go check out some of their new stuff. Which was okay. I’d need more time to digest, but then I had to listen to the first albums again.
And wow I had forgotten how much the first Iron Maiden album melds punk and prog rock into a wild metal hybrid. There’s so much rawness in the sound and Paul Di’Anno’s vocals, not to mention the speed of some of the tracks. And yet there’s also some epic time changes and starts and stops and the elaborate multipart Phantom of the Opera…. Wow.
The opening chords of “Prowler” are brutal. But what’s surprising is how the second song “Remember Tomorrow” is a lengthy song that has many ballad-like qualities, some very slow moody sections–although of course each chorus rages with a great heavy riff and a blistering solo. On the first two albums Paul Di’Anno was the singer. He had a fine voice (it was no Bruce Dickinson, but it was fine). What’s funny is that Bruce does the screams in “Remember Tomorrow” so much better in the live version that I forgot Paul’s vocals were a little anemic here.
However, Paul sounds perfect for the rawness of “Running Free” a wonderfully propulsive song with classic Harris bass and very simple metal chugga chugga riffs. And this has one of the first real dual guitar solos–with both players doing almost the same riff (and later Harris joining in on bass).
“Phantom of the Opera” is the band’s first attempt at an epic multi-secton kinda-prog song. It opens with a memorable, if slightly idiosyncratic riff and some wonderfully fast guitars/bass. There’s a great slow bit that morphs into an awesome instrumental soloing section with bass and twin guitars playing a wonderful melody.
“Transylvania” is an instrumental that is challenging but probably not one of the best metal instrumentals out there, although again when Dennis Stratton and Dave Murray play in synch solos it’s awesome. This track segues into “Strange World” a surprisingly trippy song (with effects that seem like keyboards but which aren’t). It’s slow in a “War Pigs” kind of way, but it doesn’t entirely break up the album, because there are other slow bits on the disc. It is a little out of place though.
Especially when “Sanctuary” blasts forth. True, it wasn’t originally on the album (in the UK), but man, blistering punk or what! “Charlotte the Harlot” was always one of my favorite songs (it taught me what a harlot was after all), it’s quite proggy, with a lot of stuttered guitar work and a middle section that features some loud and complex bass. The disc ends with the by now almost immortal “Iron Maiden.” A great raw riff opens the song, a harmony guitar partners it and the band blasts forth. Who even knows what the lyrics area about, the song just moves and moves–There’s even a great chaotic bass/drum break in the middle. And listening to the guitar noises in the solos at the end. Amazing. It’s quite the debut.
[READ: June 7, 2013] McSweeney’s #42
I have made it a point of (possibly misguided) pride that I have read every word in every McSweeney’s issue. But this issue has brought that to an end. As the title states, there are twelve stories in the book. But there are also sixty-one authors writing in eighteen languages. And there’s the rub. One of my greatest (possibly misguided) shames is that I don’t speak any other languages. Well, I studied Spanish and German, I know a few dozen words in French and I can read the Greek alphabet, but none of these would help me read any of these stories. So, at least half of this book I didn’t read.
But that’s kind of the point. The purpose of this book is to make a “telephone” type game out of these stories. Stories are translated from one language to another and then re-translated back into English. The translators were mostly writers rather than translators and while some of them knew the second language, many of them resorted to Google Translate or other resources to “read” the story. Some people read the story once and then rewrote it entirely, other people tried to be as faithful as possible to the original. And so what you get are twelve stories, some told three times in English. Some versions are very similar and others are wildly divergent.
I normally write about the stories in the issues, but that seems sort of beside the point as the original stories were already published and were selected for various reasons (and we don’t even see any of the original stories). The point here is the translation(s). So, in a far less thorough than usual way, I’ll list the contents below. (more…)
This song was played a lot on WXPN, and when I first heard it I couldn’t imagine what new artist was talking about “sweet Mary Jane.” So it turned out that this song was over 40 years old but it had been resurrected for a movie called Searching for Sugar Man, which is a documentary about Sixto Rodriguez and how he released two albums and then disappeared.
There’s something extremely catchy about this song–the loud down strums that stand out over the quieter strumming, the crazy high frequency sound that sails throughout the song and that hint of horns that gives more depth to this simple folk song. All of these elements make this song more complex than it might have been. In fact, the song seems like it’s going to end after about two minutes but there’s the instrumental section full of crazy sounds and electronics.
And even though it seems over after that there’s one more verse and chorus to go. And then the song just drifts away echoing into nothingness. It’s quite a catchy little number.
[READ: June 4, 2013] The Invention of Morel and Other Stories
Roberto Bolaño recommended this main story (the other ones as well, I assume). He’s a big fan of Bioy Casaraes. But also, Jorge Luis Borges has a prologue to the story in which he states of “The Invention of Morel”
“I have discussed with the author the details of his plot. I have reread it. To classify it as perfect is neither an imprecision nor a hyperbole.”
Holy crap.
I can’t say exactly that it I perfect although it is quite fine. It deals with all kinds of interesting issues and is inspired by (maybe that’s not exactly the right word) The Island of Dr Moreau. The funny thing is that Morel is neither the main character, nor even a major character for half the book.
The story starts on an island with the narrator writing this book down to leave a record of “the adverse miracle.” We learn that the narrator is a fugitive and he was told by an Italian rug seller in Calcutta that the only possible place for a fugitive like him is an uninhabited island. And on this particular island in 1924 a group of white men built a museum, a chapel and a swimming pool. But no one dares to go there—not Chinese pirates, not even the Rockefeller Institute because there is a fatal disease located on the island—anyone who has visited there has been found later dessicated. (more…)
The folks on NPR played this song as part of a “new songs” segment and I couldn’t get over how noisy and chaotic it was. I had always thought of Akron/Family as being kind of an indie folk outfit (I know they were on Swans’ label, but I still thought of them as more folkie than noisy). So I was surprised by just how chaotic and wild this song was.
It opens with a distorted, echoey guitar that settles into a ringing sound which reminds me of Fucked Up. Then the drums come in (tribal and various) until it all settles down into a thumping song with a kind of spastic guitar riff. Then the vocals come in–full bodied and sounding like more than one person. And after the first verse, it seems like everything that happened before happens again–this time all at once. But now, the music occasionally pauses to let the vocals come to the fore. And at one point everything stops and a chorus of voices sings a nice melody as the band slowly resumes playing. And this echoing fugue-like music continues apace until it all kind of slows down and then ends.
It’s quite a challenging song and one that I found rewarding after just a few listens. I have to reevaluate what I think this band sounds like, and I definitely have to listen to the rest of this album.
[READ: May 1, 2013] “The Night of the Satellite”
What I really liked about this story was the way that Boyle plays with two ideas of randomness. The first is the possibility of a piece of a satellite falling out of the sky and landing on you. The second is of running into a couple in several different and unrelated locations.
As the story starts, a couple (graduate-school aged) are excited that the summer is upon them. They plan to take a trip to visit some friends (with their dog) to get away from it all. En route they see a car pulled over at the side of the road facing the wrong way. The young man is sitting on the hood, the young woman is crying near the road. Mallory tells him to stop the car. He is reluctant but does so (childlocking the doors). The girl says that her boyfriend is a jerk. She is crying but says she is not hurt. The boyfriend is yelling across the road that she should just get in the car and leave with them. But after a few minutes, she decides not too. So he drives on despite Mallory’s protests. (more…)
I received this CD free when it came out (radio station perk), and I listened to it a few times, but not really all that much. I never really thought that much about it because I didn’t really like the cover–it looked too babyish. It’s been a while since I listened to it and I am delighted at what a good, solid, Talking Heads-ish album this is (with David Byrne, you never know exactly what you’ll get from a record, but this is poppy).
“Now I’m Your Mom” opens with an early 90s funky electronic bass and some crazy guitar sounds. But as soon as the bridge kicks in, the song is pure Byrne/Talking Heads. And that world music style chorus means that this song could have been huge (even if it is about a transvestite or transgendered person–I didn’t listen that carefully). However, the extended section at the end makes the song feel a little long. “Girls on My Mind” is a strange (but good) song from start to finish—a weird cheesy synth sound pervades the song, and yet once again, it’s very Byrne—especially the crazy singing of the chorus.
“Something Ain’t Right” opens with an odd chant but then turns very conventional—with choral voices giving big oohs. “She’s Mad” opens as a kind of sinister song. And yet, after some verses about her being mad, the chorus is as bright as anything else on the record—a very schizophrenic song. “Hanging Upside Down” has a very commercial Talking Heads Feel, like “Stay Up Late.”
“Twistin’ in the Wind” has more of those big choruses of voices to “well well well” up the song. “The Cowboy Mambo” has another weird sound that circulates through the song, but it’s got a good beat and a great chorus and it would be fun to dance to. “Monkey man” is a horn-heavy track that opens in a sinister vein once again. “A Million Miles Away” just gets stuck with you and makes you want to sing along. “Somebody” ends the disc with more Latin horns and rhythms. It’s a fun song, and a good ending.
Overall, this is a surprisingly good record. All of the songs are a little long–Byrne songs should really max out around 4 minutes. For that extra time, he either tends to repeat himself or add superfluous codas that drag out the end. But aside from that, this is a real treat, especially for Talking Heads fans.
[READ: May 20 2013] Arboretum
The back of the book describes this as a collection of enigmatic, enchanting mental maps.
And that is kind of what the book is. It is a collection of drawings–tree and branch-style drawings mostly–that endeavor to map relationships. But the subject matter is crazily diverse–oftentimes nonsensical or at the very least unparseable. The good news is that many of the drawings have an explanatory text in the back of the book. I acknowledge that ideally the drawings should make sense without needing an explanation, but the explanations were really useful–they really give you the frame of mind that Byrne was trying to explain through the pictures. (more…)
I learned about Trabant from the magazine pictured to the left. It came with McSweeney’s issue #15 and is completely in Icelandic. Trabant are apparently a pretty huge band in Iceland, and they have a lot of songs on YouTube. And many of their songs are very different sounding so I’m not entirely sure what kind of band they actually are.
This song begins with strange clicks and sound effects and then a big throbbing bass. There’s kind of a funky keyboard background and then a slightly off kilter riff.
Then the big guitars kick in and the vocals (which are “if you want a love song”) don’t start until about two minutes in. There’s a break in the middle where the band starts changing Ma Mo Ma Mo Maria and then the singer starts free associating over some wild guitar riffing and more sound effects. It’s a really weird song and I have no idea if this is representative of the band (they did make a video for it so it can’t just be a throwaway, right?).
I’m really intrigued by these guys, and I’m going to have to look for more.
[READ: May 18, 2013] McSweeeny’s bits.
Over the course of my reading the McSweeney’s issues, there were bits and pieces that I missed for one reason or another. I tried to be complete, but sometimes it wasn’t easy. So, with the publication of The Art of McSweeney’s I have now been able to read two things that I missed earlier. And the third is something I didn’t exactly read, although I tried.
Just as issue 1 had a short story by Dave Eggers on its spine! issue #4 (the box of books) had a brief piece by Ben Greenman ringing the contents list of said box. I never noticed it before (indeed I may not have ever read the back of the box before, shame on me). But anyhow, in very tiny print is “More Notes on Revising Last Night’s Dream” by Ben Greenman. And in this brief piece (which is several bullet pointed items–although arranged as a line rather than bullets) there are several ideas about last night’s dream which include “Egg on breakfast plate need not bloom into flowers” and “Cut out part in which Leslie Nielsen meets Trotsky–silly.” And, of course, “More Invisibility.” This is the kind of short silly thing that the first issues published which have more or less been relegated to the McSweeney’s website now. And while I feel the website is a better place for it (and I need to go read the website more), these silly things are certainly missed.
The second missed item is also found thanks to The Art of McSweeney’s. I mentioned in my review of Issue #20 that the story on the cover was completely covered by art. And I wondered why and I wondered if you could find the whole text anywhere. Well, in The Art of McSweeney’s they print the original cover!
I was delighted by this because it did two things–it explained how the cover was made (the 3D art was not “added on,” rather the white section under the art was “Compressed” which is how it came out 3D. Very cool. There’s also a brief breakdown of costs of the issue. But the bulk of the cover story is about how the author (Eggers, I assume) broke up a fight in New York City. A man and his family are walking down the street when a lady bumped into their little girl. The man freaks out because she didn’t apologize and he gets right up in the lady’s face (really, dude?). Eggers is on the phone arranging to meet someone when he says he has to get involved. So he tells the guy to chill out. Things quiet down a bit, but then the woman starts screaming “You got knocked up!” And that’s when Eggers takes a look at her and realizes that she is homeless and crazy and not ever going to apologize. But the screaming gets the mother involved in the fight which starts up again. Things finally settle down with the family acknowledging that the lady doesn’t understand anything. And they all depart. It’s probably the most exciting editor’s note of them all, and yet it was covered up.
My guess is, from what I know about Eggers, that story may have seemed too self-serving to include Or maybe it was just fun to cover up words with a picture.
The final item comes from Issue #15. It is a small magazine called Séð og Heyrt (Seen and Heard). It is a real weekly magazine, although I’m not sure if our version is complete (I assume it’s not since it’s only 16 pages, but who knows how much tabloid you can fill each week in Iceland). It is a pretty typical scandal magazine For some insight into this magazine, check out this post on I love Icelandic Music.
I can’t even begin to guess what half of the articles are about as the pictures are mostly crazy. There seems to be something about an Idol show, there’s a female body builder, something about some wholesome looking people who may be called Icelandic Pearls. And then the centerfold is called Rokkorgia, which should be easily translated. It features half naked pictures of the guys from Trabant. The next page has Love Guru in strange positions with his lady friend and a big headline Bingo I Beinni. The back page has an ad for Krit Paradis Eyjahafsins which appears to be a nice resort. What a fun, odd addition to the Icelandic Issue of McSweeney’s.
Then as I was glancing through I caught something that said That 70s Show. And sure enough, it was a preview of a new episode tonight (is it dubbed into Icelandic??). So even though I played around with translating bits and pieces of the magazine, this was the only one I did fully. So in Icelandic (excluding some accents)
I kvold hefjast syningar a nyrri syrpu um unglingana i Wisconsin. Jackie þarf ad velja a milli Hyde of Kelso. Red er að ba ser eftir hjartaafall og Eric er með samviskubit yfir þvi að vera að fara i burtu i haskola. þokkadísin Estella Warren leikur gestahlutverk i þaettinum
Which Google tells me means:
Tonight begins exhibiting a new series about a teenager in Wisconsin. Jackie has to choose between Hyde of Kelso. Red is ba after a heart function and Eric is guilty not be going away to college. charm diesel Estella Warren plays a role in the show.
Cool huh? What a strange thing to find in a magazine that was not meant for me. But I’m glad I read it because now I know all about Trabant!
For ease of searching, I include, well, I’m only including the magazine, because there’s way too much otherwise: Sed og Heyrt.
SOUNDTRACK: LORDE-“Royals” (Live on KCRW, August 2013).
Lorde is evidently a huge hit in her native New Zealand. Not bad for a sixteen year old. And, indeed, her voice is not bad at all for a sixteen year old–she sounds much older (and perhaps it’s not even worth mentioning her age, but KCRW did, so I will too). She has a deep and sophisticated voice (in the way that young Fiona Apple blew me away with the intensity of her voice on her debut).
My guess is, from what I know about Eggers, that story may have seemed too self-serving to include Or maybe it was just fun to cover up words with a picture.
I Just Read About That... 