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Archive for the ‘Language’ Category

SOUNDTRACK: BTS-Tiny Desk (Home) Concert #82 (September 21, 2020).

BTS is the biggest band in the world right now.  As the news the next morning said

Korean boy band BTS played its first Tiny Desk Concert on Monday — and broke the series record for most YouTube views on its first day, which happened in about 25 minutes.

When I was younger I hated all boy bands on principle–they were fake creations with no soul.  But either I’ve mellowed with age (true) or I’m less exposed to pop music so no longer sick of it (true) or maybe I just get a kick out of band from South Korea making people excited in the U.S.  Whatever the reason, BTS makes me smile.

Partly, it’s the band members themselves:

V; Jin; Jimin; J-Hope; RM; SUGA and Jungkook [I have no idea if that’s a left to right listing or just a random assortment of names] all seem to be really enjoying themselves and each other.  Perhaps all boy bands have this camaraderie (I’ve never watched enough to notice), but these guys are pretty entertaining–right down to their fabulous clothing choices.

The little I’ve seen of BTS makes me think that they are known by their hair color choices: the blue one, the purple one, the blond one, the brown one, but in this set, aside from a blue and a blonde, the rest of the guys have black or brown hair.  So instead, you have to go by their voices I guess.

One of them (on the right) has a really fantastic falsetto, another has a much deeper voice.  One of them seems to be a rapper.  The rest I can’t really tell apart–I’m not entirely sure if it makes sense for there to be seven of them, but it works.

With BTS cooped up in Seoul, the group held true to the series’ spirit by convening a live band for its Tiny Desk debut, and even arranged to perform in a workspace with a music-friendly backdrop: the record store VINYL & PLASTIC by Hyundai Card in BTS’s hometown.

The following introduction makes me laugh because I have literally never heard this song (or really any BTS song, as far as I know)

Opening with this summer’s inescapable “Dynamite” — the group’s first single to hit No. 1 in the U.S., as well as its first song to be fully recorded in English

“Dynamite” has a real disco vibe and is really catchy.  Moreso than the other two songs, I feel.  Perhaps because its in English, but I don’t think so.  The melody and delivery is really spot on.  And I love the whoohoos and heys. 

I really like their live band.  It’s kind of hard to pay attention to them when you have seven guys singing and dancing around in front.  I don’t know if they normally play with a live band, but the guitar from Shyun is really grooving.  He also plays a lot of unobtrusive but wild solos throughout the songs.  The bass from Kim Kiwook is really smooth and funky

They introduce the next song in English. 

From there, the group dipped into its back catalog, seizing on the opportunity to showcase its quieter side while (mostly) staying uncharacteristically seated. The breezily propulsive “Save ME,” from 2016,

starts with a squeaky keyboard sound from DOCSKIM followed by the falsetto guy on the end (who seems to sing more than anyone else–I wonder if he’s the favorite) but they can all do some impressive falsetto notes in the verses as well.  I get a kick out of how they have a really hard time staying seated–with one or more of them seeming to need get up and dance. 

This song has a rap verse (in Korean I guess) which is pretty interesting to hear.

They discuss the song in Korean (with subtitles) and then introduce the final song in English.

It’s the full-on power ballad, 2017’s reflective “Spring Day,”

which seemed especially true to BTS’s hopeful nature: Introduced with a few optimistic words from rapper and singer RM (“It’s been the roughest summer ever, but we know that spring will come”), the song reflects on a need to wait out hard times, even as the weight of present-day pain feels oppressive.

The song builds from a slow intro to a pretty big ending with some notably solid drumming from KHAN.

I was surprised by how much I enjoyed this tiny concert.

[READ: September 22, 2020] Birthday

Birthday is not a novel, it is an autobiographical essay.  It’s important that this distinction is made because many of Aira’s novels feel autobiographical.  But this one is meditative and a very personal–it was translated by Chris Andrews.

Aira turned 50 in 1999 (he dated this work July 18, 1999).  He imagined it as an opportunity to prepare for the future. But nothing really changed.  He went on as usual.

It was a short time later, when walking with his wife, Liliana, when he stated that the phases of the moon could not be produced by the earth’s shadow as he had learned.  But his wife said there was no way anyone thought that’s how the moon’s phases were created.  He felt so dumb for thinking this, that he spent the next several days going over in his head what else he didn’t know.  He spends most of the book mocking himself for his ignorance. (more…)

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SOUNDTRACK: KNEECAP-“C.E.A.R.T.A.” (2018).

Kneecap are the Northern Irish trio of Mo Chara, Móglaí Bap and DJ Provaí.

They rap.

In Irish.

This in itself opens up all kinds of interesting rhyme opportunities.

Because I have no idea what they are saying, when the song opens with what sounds like “Fuck me,” I don’t know if that’s what he’s saying or if he’s saying something in Irish.  It sounds like they say fuck a lot, so I’m assuming that’s what they are saying (especially since the video has them flipping the bird a lot).  But who knows.

The song is anti police (garda) I’m assuming, although I don’t know what the initials stand for.  It also seems to be pro drug (or at least pro party).  There is one line that I picked out (there are occasional English words)  So a line ends with “balaclava” and then goes on

coke, speed, E, agus [and] marijuana
[irish irish irish irish irish] Connamara.

The video is an interesting insight into, I assume, Belfast, with graffiti-strewn tunnels and a very very very depressing looking “party” at the end.

The music is not terribly interesting.  It’s a very simple bass line that runs through the whole song, with the only change in the chorus being the addition of a high synth line.  But their flow is really good (to someone who can’t tell what they are saying).  The rhymes work and it is good craic not knowing what they are talking about but hearing an occasional familiar word.

If they can get their musical part more interesting, they’d be on to something.

[READ: September 21, 2020] My Wife is Married to a Feckin’ Eejit

I have no idea who Bernard O’Shea is.  Well, he’s an Irish comedian, but I don’t know what kind.  He could be Ireland’s Jeff Foxworthy for all I know.  I doubt that he’s Ireland’s Dave Chapelle, anyway.

This book came across my desk at work and I liked the title so I thought I’d give it a read.

The premise of this book is that O’Shea found a list in his wife’s diary of all of the reasons why he is an eejit.  So he enumerates this list and then gives details about each incident.

Most of the things O’Shea he talks about are daily frustrations (often gone to crazy conclusions).  I probably wouldn’t have enjoyed this book if it were set in the States, but having it set in Ireland–where everyday things are a little different, (what in the heck is a crèche?) brought enough unfamiliarity to make these familiar stores seem more amusing. (more…)

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51196238._SX318_SY475_SOUNDTRACK: LYRIC JONES-Tiny Desk (Home) Concert #57 (July 29, 2020).

download (69)Lyric Jones is a delight.  A smart, thoughtful woman who not only raps really well, she has a great singing voice too.

She talks A LOT between songs.  She plays 3 songs in 21 minutes.  She talks a lot about her hustling–driving for Uber and Lyft as well as all of the running around one has to do to be a musician.

Lyric makes it abundantly clear that her hustle is nonstop – writing, rapping, singing, drumming, engineering, and grinding it out to make Gas Money (the title of her latest album).  This quintuple threat, trained in the Berklee College of Music’s City Music program, recorded this Tiny Desk (home) concert from her studio in Los Angeles in May.

“All Mine” opens the song and I love how she plays her electronics while keeping her flow fresh.

My favorite song is “Adulting.”  I love watching her create the song a capella–making the beats and the music looping her voice and manipulating it with electronics.

 Her multi-layered prowess is present on “Adulting” a song about the evolutionary growth that happens in your late 20s and early 30s. Lyric uses a TC Helicon vocal processor to create percussive beats, looping her voice as a backdrop and packing a punch with vocal harmonies and ad libs.

After the song she jokes about how in the song she is complaining about wanting to stay home all day and not get up and do shit.  Be careful what you wish for.

Before the last song she has two important things.  First, how you can support Lyric Jones (ha).  But she takes the virus seriously, encouraging everyone to be kind to ourselves and patient with ourselves. It’s important to feed ourselves mentally, creatively and to literally feed ourselves.

In grappling with the pandemic, Lyric expresses the deep importance of this moment: “Whatever we put out in this time, in this era is a bookmark in history. Especially as musicians. … For me, my personal testament, I want to be intentional. … My children’s children are gonna know about this time. And I want to know that I impacted it with intentional music, intentional thoughts, insights and perspectives.”

She ends with “Lush Lux Life,” her “affirmation song” about “what I should be doing–living luxuriously.”  I really like this song for the excellent retro-sounding music behind the song.  I’m really curious if the jam at the end of the song is new or a sample from an interesting rocking jazzy solo.  Her producer Nameless has some great skill.

[READ: July 29, 2020] Thinking Inside the Box

A couple of years ago I read Cluetopia, a history of the crossword puzzle written from a British writer.  Now here’s a book about crossword puzzles written from an American writer.

Is the country significant?  In some ways, very much so.  Because Americans and Britons have very different styles of crossword.  Americans’ puzzles are full of puns and definitions as well as facts and information.  British crosswords are known as cryptics and are mostly full of wordplay–you don’t need external information to solve the puzzles, exactly.  Most of the time the clue contains all you need to find the answer (sometimes it even contains the answer itself) but they are quite challenging.

Other than that, the origin of the author is not that significant, because the origins of the crossword are the same regardless where you write from.  Arthur Wynne was a Liverpudlian lad who moved to Pittsburgh and then to New York City.  He worked on the New York World which was eventually run by Joseph Pulitzer.  (It’s ironic that awards of excellence are in his name since he ran the World full of pulpy news and yellow journalism).

In 1913, Wynne was put in charge of the FUN section.  He needed to fill space so he came up with a Word-Cross Puzzle.  It was shaped like a diamond and the three and four letter answers ran around a center hole.  He based it on similar word puzzles he had seen as a child in England.  The puzzle became a weekly feature.  Eventually a typo changed it to crossword.  The puzzles weren’t especially challenging because they were meant to be fun.

Wynne wanted to patent the crossword but the paper wouldn’t pay for the expense. (more…)

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SOUNDTRACK: TRUPA TRUPA-Tiny Desk (Home) Concert #44 (July 3, 3030).

Trupa Trupa is a band from Poland who play some really great indie rock.  They were supposed to be touring the U.S. and doing a Tiny Desk, but instead they are home.

In a little dirty rehearsal room basement in Gdańsk, we find Poland’s great rock band Trupa Trupa on lockdown. Had it not been for COVID-19, this band would have been behind my desk this week, but as it is, they’ve settled into their rehearsal space.

Their songs are pretty intense, but this Home Tiny Desk features lighter versions of the songs.

They open their set with “Another Day,” from the 2019 record Of The Sun.  It has a great throbbing bassline Wojciech Juchniewicz while singer Grzegorz Kwiatkowski plays acuostic guitar.  He says its the first time he’s played the acoustic guitar in a really long time.

There’s a cool theremin-type sound that is coming from Rafał Wojczal.  The credits say the instrument is called an ondes Martenot, but this is a homemade device–and it sounds pretty cool.

I’ve seen them perform this; it’s always had an apocalyptic feel, but now the words “another day, waiting for another,” prompts Grzegorz to mention how this has turned into a quarantine song.  Grzegorz tells us that life in Poland has been difficult in this young democracy, but they are staying optimistic and playing music.  There’s darkness in the basement, yet their music is a bright beacon.

“Dream About” starts with a snappy drum from Tomasz Pawluczuk.  Kwiatkowski plays as scratchy rhythm on the guitar before  Juchniewicz plays a great rolling bassline that runs throughout the song until it abruptly stops for a some single notes.  Then it resumes again.  Wojczal adds some guitar before bringing that Martenot back.

“None of Us” is slow and deep basslines.  Initial vocals come from Juchniewicz who has switched to guitar.  The acoustic guitar is more prominent on this song.  And Juchniewicz’  fuzzy electric guitar sound is deep and menacing.

Their U.S. Tour was cancelled, but they weren’t going to play near me.  Maybe when they come back they can squeeze in a Philadelphia date.

[READ: June 20, 2020] Bagombo Snuff Box

This is a short story collection that I read when it came out.  When I read all of Vonnegut’s books a few years ago, I decided to re-read this collection.  It has only taken me several years to get to it.

But what a great bunch of short stories.

The Preface explains that these stories were written in the 1940s and printed in magazines before he had written his first big novels.  After the War, there were many magazines that featured fiction, so Kurt was able to make some good money on the side while he worked at General Electric.  He left the company in 1950.

Vonnegut has an introduction as well.  He talks about the beneficial effect short stories can have on a person.  He also says he generally feels good about these stories although he feels a bit badly for the way some (many) of the women are treated–not that Vonnegut specifically treated them badly, but that was sort of the way it was then. (more…)

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SOUNDTRACK: THE ROCK & ROLL DUBBLE BUBBLE TRADING CARD CO. OF PHILADELPHIA-19141 – “Bubble Gum Music” (1968).

19141I thought it was a very clever idea posting about bubblegum music for this book.  If only I had known how much music was actually mentioned in the book and, ultimately, how inappropriate these songs are to the book–in tone and content.

However, I have really enjoyed discovering some of these songs that i’d never heard of before.  Like this one.

This might be may favorite bubblegum song of all.  In addition to being catchy (obviously) with a simple swinging horn melody, the lyrics are hilariously self-referential.

A bubblegum song about bubblegum songs which mentions some of the most popular bubblegum songs.

Since most of the bubblegum songs were written by the same few people (under different band names), it’s very likely that they are singing about some of their own songs.

The stupidly catchy chorus:

Give me more, more, more Of that bubble gum music
Makes me feel so good Oh, I never want to lose it
Let me dance, dance, dance To that bubble gum music
If you really want to turn me on

which is of course repeated about ten times.

But then come the lyrics which mention a while bunch of bubblegum hits

Tommy Boyce and Bobby Hart wonder what she`s doin`
While the Monkees are singing for Valleri
Simon says take you down to LuLu`s
You`re gonna feel yummy, yummy, yummy

The second verse is even funnier because it turns into a kind of diss track

Well the Grateful Dead just leave me cold (ooo!)
And Herbie Alpert makes me feel too o-old (feel too old)
I can groove to rhythm and blues (rhythm and blues)
But if I had to choose, if I had to choose If I had to choose,

All of this wrapped up in one of the most ridiculously lengthy band names ever.

Spectacular.

[READ: June 29, 2020] Bubblegum Week 8

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Hitting Back on the Brickhorse

With this week, the book comes to an end and I can’t help but feel disappointed by the ending.  At some point a few years ago I realized that endings are often the worst part of a book.  Endings can’t ever do what the reader really hopes will happen, especially if the reader has a different idea of what the book is doing.  I must have had a very different idea of what this book was a bout because I left that last page with so many questions–questions that Levin clearly had no intention of answering.

Like what if the entire book from after Belt gets his cure until the very end is all in his head.  He is just crazy and none of these things happened.  There are no cures.  Everything that seems off about his world is because his perception is skewed.  He has the wrong date and perpetrator of 9/11.  He misunderstands The Matrix, he believes he was given hundreds of thousands of dollars from the creator of The Matrix.  His father is dating the mother of the wife of an author that he likes.  But really he’s just in Costello house imagining he’ll meet up with Lisette someday.

I don’t really think that’s what happened, but there’s so much left out after the ending, that I have to fill it in somehow.

I was particularly interested in this first section being called AOL.  There has been no real explicit nudge from the author that there is no internet in the book, but this title was clearly a wink at us.  Particularly since Belt doesn’t know what it stands for either. (more…)

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SOUNDTRACK: KASENETZ-KATZ SUPER CIRCUS-“Up in the Air” (1968).

katzReading about bubblegum music has led me to a fascinating trove of information.  Like that most of the songs were written by two guys who “created” many of the bands.  Most of these bands have a revolving cast live but had the same band on record.  The two creators were Jerry Kasenetz and Jeffry Katz.

In 1968, Kasenetz and Katz created a “supergroup” which consisted of members of their “Super K Production.”

Their first album was hilarious, because according to the inner gatefold cover’s liner notes, the “supergroup” consisted of 46 members. However, the album cover itself only shows 33 members (plus Kasenetz and Katz in tuxedos) while the individual inner cover photos total 37 (excluding the non-existent St. Louis Invisible Marching Band, whose photo is represented by a white block). To add to the confusion of the actual number of participants, the LP package came with a page of stamps with each member of the “supergroup”, including their names and the individual group he or she represents. The members of The Teri Nelson Group (except Teri Nelson herself) are shown as INVISIBLE BAND on the stamps. Side 2 opens up with Music Explosion leader Jamie Lyons announcing the individual members of the newer or lesser-known groups. Some of the names mentioned do not coincide with the members shown on the stamps.

Hilarious and crazy.  This song “Up in the Air” comes from the supergroup’s second album in a year.  They renamed it “Kasenetz-Katz Super Circus” and the roster was reduced to five groups: The 1910 Fruitgum Company, Ohio Express and Music Explosion, with the other groups replaced by Shadows Of Knight (who had just been acquired by Super K and signed to Buddah’s Team label) and White Whale label group Professor Morrison’s Lollipop (formerly the Coachmen of Nebraska). Despite these representations, the tracks were actually recorded by studio musicians with lead vocals by Ohio Express lead vocalist Joey Levine.

That’s a lot of setup for an amusing almost novelty song.

There are two different guitar lines. One playing high notes and the other playing a melody).  Thumping bass and drums enter and then the song shifts to a groovy bassline and vocals that seem sped up.  And the lyrics are sort of political.

I don’t read poems by Poe
Look at Palooka Joe
Watch the Ed Sullivan Show
I love Governor Reagan

There isn’t a real chorus, just a repeated final line about Governor Regan (pronounced “Reegan” for some reason–like “Regan,” the King Lear character).

Don’t dig Joe Pepitone (la la la la la)
Or talk on the telephone (la la la la la)
One thing stands all alone
That’s my governor Reagan

Hail, Hail, hail our leader!
[Clavichord solo while backup singers chant “Hail Reagan, Hail to the Chief”]

Reagan was governor of California at the time.  The creator of the site Bubblegum Reviews asks, What is Reagan actually being criticized for here? He hadn’t actually done much to damage American democracy at that time.

Some may say he’s the Gip
Some say he’s lost his grip
I say that he’s a pip
He’s my Governor Reagan

A man who has so much hair
A man that is not all there
A man who just loves the chair
That’s my governor Reagan

More from Bubblegum Reviews:

The song seems to be making fun of him for having an inane persona derived from his good looks and movie career (“he’s the Gip”/”so much hair”).  It also denigrates him for having a feeble intellect or a weak grasp on sanity (“lost his grip”/”not all there”).  His supporters are equally dimwitted: instead of reading poetry, they look at Palooka Joe.

According to Wikipedia, “in Reagan’s campaign, he emphasized two main themes: “‘to send the welfare bums back to work,’ and, in reference to burgeoning anti-war and anti-establishment student protests…’to clean up the mess at Berkeley.’”  In one incident, his actions led to the death of one protester and the blinding of another;

[WHAT?  HOW DID THIS GUY BECOME PRESIDENT?]

later, he sent out the National Guard to occupy Berkeley.  It may have been his anti-protest stance that rankled with Levine et al. — youthful revolt seems to have been something people in the music biz were generally in favor of, even if they weren’t particularly interested in what was being revolted against. This autocratic approach to free speech may also be what’s behind the song’s implication that Reagan demanded unquestioning fealty (“hail, hail, hail the leader”).

How timely.

Is this a bubblegum song?  It’s hard to say for sure.  Kasenetz & Katz wrote most of the biggest bubblegum songs so they knew what they were doing.  Maybe they were trying to branch out.  It’s really nifty. I’ll have to listen to more.

[READ: June 15, 2020] Bubblegum Week 6

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

You Can Be Right and Kind At The Same Time,
or: Why Would You Hate a Part of Speech, Dude?

I was really looking forward to seeing Jonboat again.  He has been this looking figure–billionaire, astronaut, husband of the most beautiful woman in the world, father of Triple J.  And we know very little about him besides that.  And WOW does he make an impression.  Sort of.  Actually, he doesn’t make any impression except on Belt’s psyche.

This section begins with a bit of a misdirection: Belt picking up a magazine at the White Hen because astronaut Jonboat was on the cover. Flipping through, he couldn’t find the article (typical of big glossy magazines) and wound up looking at an article about the famous chef Clem.

Clem (I’m guessing inspired by Emeril?) was eggplant shaped with arms like noodles–he looked like a combination of Ringo Starr and Yasser Arafat–he seemed all wrong and yet he looked fantastic.  This was because everything in the room was custom made just for him.  He was measured for an oven, molds were made of his hands for his knives etc.  Somehow the objectively handsome assistant looked unfit in the room because everything fit Clem.

I love the librarian joke that Pang shouts at him: You think my name is Marian? (and a wonderful discursive joke about this not being a library).  But Belt didn’t buy the magazine because he needed money for Quills.

This is all a set up to say that Jonboat looked in his office as if every inch of it was measured to fit him.

As Belt walks in, Jonboat says “Hey, you,” and holds out his arms for a hug.  It take a second before Belt realizes he’s talking to Fondajane who is next to him.

There’s some playful banter between Jonboat and Fon.  And yet I can’t decide how to read this.  Is Jonboat a pedantic jerk or is he fun and good at teasing?

She says “As the kids say…Now we’ve come to the part where I make my exit.”  I love that Fon either doesn’t know or doesn’t care what the kids actually say.  Jonboat suggests they say, “I guess that’s my cue [to leave].”  But Fon retorts that that was two eras back.  They gave that up for their name and out: “Fondajane: out.”  Jonboat says that he never heard of it: “Jonboat: incredulous.”

When Belt tries to interject into the banter, Burroughs pats his arm to tell him to keep out of it.  As Fondajane leaves she says she has to meet Robbie bin Laden for dinner. This story’s skirting of 9/11 with lines like this is fascinating and I wonder if there will be any kind of payoff, or if it’s just reminders of the slightly-off timeline.

Finally Jonboat turns his attention to Belt.  He gets out his business gear (he is there to sign the contract for Triple J) and Belt notices a cure running on top of a globe.  Jonboat is trying to train it to walk on four feet, but it is disposed to walk on two–a sort of glorious defect.

The cure is really cute.  Even for Belt.  Belt starts to get uneasy–so much so that Burroughs steps in his line of sight to avoid any trouble.  Belt is surprised and dismayed that he didn’t just want to hold it, he wanted to squeeze it–and he imagined in some detail what the experience would have been like. (more…)

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SOUNDTRACK: 1910 FRUITGUM COMPANY-“Goody Goody Gumdrops” (1968).

19101910 Fruitgum Company has a great, bizarre name.  Especially for a band that released such poppy songs.

I thought I knew most of the bubblegum hits just from casual awareness of them.  I was quite surprised how many of these chart-hitting songs I’ve never heard before.

I don’t think I knew this one before, and I quite like it.

The opening verses are quiet, almost dark, with just a chugging guitar and a stomping drumbeat.

It segues into a chorus that is really catchy (of course).  I really like the chord change from “goody goody gumdrops, my heart is doing flip flops” to “gee what love can do.”  It feels like perhaps a minor chord introduction.  There’s even some mildly interesting drum patterns in the middle.

The return of the opening verse brings back a slightly darker mood before the return of the joyful chorus.

It feels like it slightly defies the conventions of the pure bubblegum song.  Maybe that’s why it only got to #37.

[READ: June 15, 2020] Bubblegum Week 6

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Coffee with Honey

Part IV of the book is called Compound. In it, Belt visits the Jonboat housing compound (they took over most of a cul-de-sac).

There’s a few interesting revelations here, and a remarkably lengthy discussion of a sexual practice that I don’t think I’ve ever seen discussed–certainly not at length–in a book before.  But overall this section does what I like best about this book–have lengthy passages that don’t move the plot along but make me laugh at the ideas and the extent to which Levin is willing to stretch out an idea.

Part IV Section 1 is called “New Modes of Fascination.”

As Belt wakes up his pillow is talking to him.  This is new.  Or, not new exactly, but unusual.  Indeed, the pillow is mad because Belt hasn’t talked to it at least six years (and it’s grumpy because of it).  There’s not much more with inans in this section (aside from a false interaction with a bracelet at the compound), but it’s probably important not to forget about them.

One interesting idea that the pillow suggests is that it can talk with books.  Belt wonders why he never talked with books.  Or had he?  Was the book reading the words to him as he held it or did books have other things to say besides the words on the page?  That idea must be tabled for now.

Belt runs into his dad who is standing in the kitchen acting like he’s had a stroke. He’s acting very strangely, frying up a huge pack of bacon and getting grease on a Jonboat shirt.  There’s a nice call back to Belt smashing the frame that held the Jonboat Says t-shirt.  For this is the shirt that Clyde has.  Clyde essentially believes that he blacked out and smashed the frame but doesn’t remember doing it.  he finds this disturbing because he distinctly remembers why he wanted to do it, but is concerned that he blacked out and doesn’t remember that part.  Belt does not put his mind at ease with the truth.

Belt also learns that his father never really liked Jonboat–he wasn’t rubbing it in by buying that T-short–rather it was … overcompensation because he felt bad that he didn’t like belt’s new friend.  This made Belt feel very good about his dad and they even shared a lengthy, sincere hug.

This week’s reading had several sections that I just loved.  The don’t advance the plot.  They are long-winded, almost set-pieces.  And each one delights me.

Like when Belt decides to sweeten his coffee with honey. (more…)

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SOUNDTRACK: THE BANANA SPLITS-“The Tra La La Song (One Banana, Two Banana)” (1968).

traOf all the bubblegum pop songs, this is probably the one I know the best.

I was surprised to discover that the song and TV show were from 1968, because I used to watch it all the time.

But I see that the series originally ran from September 7, 1968 to September 5, 1970, but then it was in syndication from 1971 to 1982, which is when I watched it.  Amazingly, it was in syndication for 11 years and there were only 31 episodes made.

Is there anything catchier than a bunch of people singing tra la la, la la la la?

And then the lyrics couldn’t be simpler:

One banana, two banana, three banana, four
Four bananas make a bunch and so do many more
Over hill and highway the banana buggies go
Coming on to bring you the Banana Splits show
Making up a mess of fun
Making up a mess of fun
Lots of fun for everyone
Four banana, three banana, two banana, one
All bananas playing in the bright warm sun
Flipping like a pancake, popping like a cork
Fleegle, Bingo, Drooper and Snork

This was the theme song for the TV show.  It was a minute and a half and is insanely catchy.

The Dickies did a punk cover in the 1970s, which doesn’t sound very different from the original, expect that instead of bright keyboards, the music is all guitars and drums.  It is faster-paced and yet longer because of a guitar solo and some extra sing along parts.

For those unfamiliar with the show, the Banana Splits were:

  • Fleegle — A greenish-brown dog wearing a large red bow tie, black buttons, brownish-orange chucks, with his tongue is always sticking out. He plays a guitar and sings.
  • Bingo — A nasal-voiced orange gorilla wearing white glasses and a yellow vest, featuring a toothy grin. He plays drums and sings.
  • Drooper — A lion with a very long tail wearing yellowish-orange glasses, spats on his feet, and speaks with a Southern drawl. He plays a bass guitar and sings.
  • Snorky — A mute furry elephant wearing pink glasses. He becomes a regular elephant in season 2, wearing a green vest with yellow stripes. He communicates through honking sounds akin to a clown horn, and one of the other Splits would translate what he is saying. He plays a keyboard.

What a great time to be a kid.

[READ: June 8, 2020] Bubblegum Week 5

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

A Fistful of Fists is a Handful

After the academia and “high brow” thoughts of Triple J’s essays, this week’s transcription of Triple J’s film A Fistful of Fists: A Documentary Collage is rather tough reading.  It reminded me of reading something like David Foster Wallace’s Brief Interviews with Hideous Men or Roberto Bolaño’s 2666 (The Part About the Crimes) in that there’s some really horrible things to witness but their inclusion serves to prove a point and even to further the plot and fill in some gaps.

A Fistful of Fists is a collage of twenty-seven short films all about the joy of killing cures.  The transcription is a print version of what is seen on the videos, sometimes in graphic detail.  Scenes of it reminded me of some of the “torture porn” stories that were trendy a while back. (more…)

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SOUNDTRACK: THE FUN AND GAMES-“Elephant Candy” (1968).

indexI’d never heard of The Fun and Games before looking up this bubblegum pop song.

Amazingly there were six members of the band (and none of them were cartoons).

The band members and name were constantly in flux and they released only one album, Elephant Candy in 1968.

“Elephant Candy” is a two and a half minute pop delight.

The main music of this song sounds almost like the music of a merry-go-round–a kind of sugar-coated pipe organ.

The song opens with the preposterously catchy “elephant elephant candy did you know that elephants can be fun eating candy on the run.”  The second go-round features backing vocals of a steady “Ahhahahh” that sounds simultaneously unsettling and catchy: kind of like a fun house mirror.

The verse seems like its just an opportunity to pause in between the next appearance of the chorus.

If that weren’t catchy enough, the song moves up a step so it’s even more treacly. Somehow, the song even has time for two keyboard solos.

[READ: June 1, 2020] Bubblegum Week 4

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Sometimes One Looks Like The Other, Bad Taste and Stupidity

This weeks reading was really intense.  It also showed things that I never imagined would come up.

  • A lengthy and carefully edited suicide note.
  • A lengthy treatise on transgendered persons/prostitution/homosexuality
  • Academic papers that are simultaneously well-written and yet obviously the work of a child.

Part Two, Section 5 of the book is called “Letters and Facts.”

This was an interesting place to stop/resume reading because, although they reference the same incident, the beginning of this section differs from the end of the previous section.  (more…)

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SOUNDTRACK: OHIO EXPRESS-“Chewy, Chewy” (1967).

The name Ohio Express sounded familiar, but I couldn’t remember why. Turns out that they did “Yummy Yummy Yummy” (which I could have put here, but “Chewy Chewy” seems more bubblegum-apt).

What I was fascinated to discover though, was that (according to Wikipwdia)

“Ohio Express” served as a brand name used by Jerry Kasenetz’s and Jeffry Katz’s Super K Productions to release the music of a number of different musicians and acts. The best known songs of Ohio Express (including their best scoring single, “Yummy Yummy Yummy”) were actually the work of an assemblage of studio musicians working out of New York, including singer/songwriter Joey Levine.

Several other “Ohio Express” hits were the work of other, unrelated musical groups, including the Rare Breed, and an early incarnation of 10cc. In addition, a completely separate touring version of Ohio Express appeared at all live dates, and recorded some of the band’s album tracks.

So basicaslly, Ohio Express were like The Monkees, but without a cute public face.

In fact, if Wikipedia is to be believed, (and sure, why wouldn’t it), Ohio Express has a fascinatingly complex and questionable history.  Almost worth a novel in itself.

This song opens with a high -pitched “doo doodoodoo do” as the main verse breezes along in quite a familiar bubblegum style.  You can absolutely hear “Yummy Yummy Yummy” in the pedigree of this song.

It’s bouncy and catchy with the appropriate keyboard bops.  The biggest surprise comes at a minute and forty five seconds when the song throws in, inexplicably, the guitar riff from “Then He Kissed Me” for two measures as a kind of instrumental break then returns to the main melody.  This is no where near as catchy as “Yummy Yummy Yummy,” but it has its moments.

The album that this song comes from Chewy Chewy is remarkably annoying.  It’s under 30 minutes but it is just full of “comic” bits.  “Nothing Sweeter Than My Baby” opens with over 30 seconds (of a song that lasts 2:52) with one guy saying “Oh Bonnie” (or bunny) and the other guy in falsetto saying “Oh Clyde” over and over and over.  I don’t even assume it was funny back then.  “So Good So Fine” opens with a 30 second “skit” about Superman being stuck in a phone booth.  The full song is 2:10 and has nothing to do with Superman, phone booths or anything of the sort.

“Yes Sir” opens with a person saying “Hi, I’m chicken little.” The angry reply is, “I don’t care who you are get your beak out of my popcorn.”  What?  The song is practically a children’s call and response song.  “Little Girl” opens with a “dialogue” that includes a fairly lengthy backwards spoken section which is apparently the person talking?  The hilarious punchline is that the person is from Poughkeepsie, New York.  You know it’s funny because there is a silly fake cackle.  The ensuing song is pretty catchy though.  There’s even a pop version of “Simon Says.”

I guess writing pop hits isn’t as easy as it seems.

[READ: May 25, 2020] Bubblegum Week 3

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Lacing up my rhinestoned shirt in Vegas or: Finking wrecks fun

Part Two of the book is called The Hope of Rusting Swingsets

So if you thought the swing set murders were not going to be revisited, you’d have been wrong.

Part 2 Section 1 is called “Look at Your Mother.”  It concerns Stevie Strumm.

Belt has had a crush on Stevie for a while.  She’s the only girl that he can comfortably talk to.  Stevie had once given him a mixtape because he liked her Cramps shirt.  Stevie, the second youngest Strumm, invited Belt over to destroy their rusted swingset (number ten in his murderous spree).  She was babysitting her younger sister while the rest of her family was at a G N’ R show.

The end of the second paragraph promises two events that we haven’t seen and may or may not.  He has a vertiginous feeling that he will feel “while dressing at the foot of Grete the grad student’s bed and after reading No Please Don’t‘s first review.” (more…)

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