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Archive for the ‘Letters’ Category

1967 SOUNDTRACK: JULIAN LAGE TRIO-Tiny Desk Concert #140 (July 7, 2011).

lageJulian Lage is a jazz guitar prodigy.  he normally plays with a quintet but for this set he brought only a trio which includes bassist Jorge Roeder and percussionist Tupac Mantilla.

This was my first exposure to Lage and he does some really impressive lines and riffs.  He plays a hollow-bodied electric guitar that sounds an awful lot like an acoustic guitar. He does some phrasings that are really pretty or really interesting

But I was more impressed with Mantilla on percussion.  He uses thick brushes, he uses his hands on bongos and cymbals.  He uses his hands on his body–playing his lap and chest).  He even uses little dusts brooms (which must be unwieldy).  He’s also got some kind of drum (perhaps a loose snare?) with a great sound and even a bell.

They play three songs.  “Welcoming Committee” is a new song not recorded as of then.  At the end of the song, they all laugh as an office phone rings the end.  Julian is a sweet funny guy with some interesting stories about his songs.

“However” is an upbeat bouncy song (with some less noodling).  Interestingly, it was written by their saxophonist who is not playing in the trio today.

Before introducing the final song “Untitled (No. 24)” he says he started a blog for inspiration–to get people to bounce ideas off each other–healthy peer pressure with incentives for song writers.  The most recent one was a song a day for 30 days.  This was number 24.  (Hhe jokes that the first 23 sucked).  It’s a really fun piece that doesn’t feel incomplete at all.

[READ: December 8, 2015] The Complete Peanuts 1967-1968

It’s 1967 and Schulz has had huge success with Snoopy’s Red Baron plots.  In December 1966 The Royal Guardsmen made a song called “Snoopy Vs the Red Baron” which made it to number 2 on the charts.  So The Red Baron plot takes over a lot of this year.  And while I enjoy seeing him like that and I get how it’s funny, I don’t really like it all that much–the jokes are too samey for me.  But despite all of the Red Baron excitement there are other things going on this year too.  Like the introduction of the Easter Beagle.  And of Franklin!

The kids get involved in many different sports this year.  In Feb 1967 Lucy begins arm wrestling (and beating) everyone.  She even takes on the Masked Marvel (Snoopy).  In Oct 1967 Snoopy plays hockey for the first time (I think).  He references Bobby Hull).  Later in Jan 1968 all the kids play hockey together.  Lucy beats everyone up and say how much she likes the game.  And at one point Snoopy smiles and is missing teeth.  In Oct 1968 Snoopy shoots and scores (on his doghouse) and says “they’re not sleeping well in Montreal tonight.”

In December 1967 Snoopy considers going to the Olympics in France for his ice skating.  He says he misses skating with Sonja Henie).  In April 1968 Snoopy is going to the Masters in Augusta.  When that doesn’t work out (we never see him there), later in April Snoopy is a wrist wrestler who is going to go to Petaluma for the world competition.  (There are many jokes about Petaluma).  Snoopy is disqualified because he has no thumbs.

In August 1968 Snoopy says “jogging is my thing.”  And in Nov 1968 we learn that Snoopy has a pool table but that Minnesota Fats won’t play him.

And of course there is baseball.

Peppermint Patty comes back in March 1967 to play against Charlie’s team.  She has a new player, Jose Peterson, who doesn’t really hang out in the strip for very long, but who is an awesome slugger.  In November of 1967, there’s a reference to the lousy New York Mets.  I didn’t realize it but at the time of this strip, the New York Mets were a recent expansion club with a terrible record.

In summer of 1967 Charlie and snoopy return to camp and they see Peppermint Patty is there.  Patty strikes out Charlie a whole bunch and says she considered letting him hit one but he wouldn’t want that, right?

In march of 1968 snoopy takes over as manager and is really mean.

And of course, Snoopy has a lot going on too.  We learn that August 10 is Snoopy’s birthday.  He also says a lot of things are gauche.

In a very funny skit, in May 1968 Snoopy watches a bird chomp a worm and then says “I’m going to be very very very very very very very very sick.”

June 1968 introduces Lila again, and how Snoopy pines for her.  Then in August she writes to Snoopy again.  And finally on Aug 24 we meet Lila for the first time.  Lila is a girl in the hospital.  But it’s not until the end of the month that we learn that Lila was Snoopy’s previous owner who lived in an apartment and had to get rid of him.  AND THAT’S ALL THAT’S SAID ABOUT IT!

On a lighter note, in March Snoopy pretends to be a piranha for a few strips.  In April 1967 there’s some Cheshire cat jokes from snoopy (who is only a smile)  April 1968 sees the first mention of the Easter Beagle (Lucy doesn’t believe Linus who is the only one to see him).

Linus and Lucy pop up a lot of course.  They revisit a lot of the same ideas with variations.  In August Linus’ grandma agrees to give up smoking to get Linus to give up his blanket.  He thinks she’ll never do it, but he goes through the real withdrawal.

In Dec 1967 Lucy ups her psychiatrist booth’s price to 7 cents (winter rates).  And then as the book ends in Dec 1968, Linus is taking shorthand notes for her.

Father’s Day this year had Peppermint Patty writing a card.  She says that her dad calls her a “rare gem,”  This phrase is used as a joke in the strip and then a few more times.

It seems like summer is a good time for new things as well.  There are two weeks of strips starring Peppermint Patty at camp!  She is a counselor of littler kids.  There is a little girl who looks like Marcie but isn’t (her name is Clara).  And then later that week another little girl, Sophie, calls her “Sir.”

And then July 31, 1968 introduces Franklin!  He and Charlie play at the beach for a few days.

Religion pops up from time in the strips, especially with quotes from the Bible.  But in March 1967, Violet asks Charlie if they go to church.  He says yes, but she says her family “used to…now they belong to a coffee house.”  And in April Schulz revisits the “here’s the church gag.”

[From the Peanuts wikia] On February 8, 1963, Sally watches while her big brother uses his hands to illustrate that old rhyme: “Here’s the church…here’s the steeple…open the door…and see all the people!” After carefully examining his closed fingers, she announces, “It looks like a rather small congregation!” Four years later, on April 8, 1967, Sally watches as Linus delivers the same rhyme…and then she provides an almost exact response: “Sort of a small congregation.”

Most of the strips are totally timeless, with me even thinking that I read some of them when I was much older than I did.  I can’t say as I remember a lot of specific strips, but I always remember the one from Dec 5, 1968 (which is from before I was born, so I obviously read it in a collection).  Peppermint Patty says that it snowed last night Her dad says that “when it snows you should always take a slice of bread out for the birds.”  She places a whole slice on the bird’s head.

I think the timelessness of the strips are what make reading these volumes so much fun.

In May 1967, Charlie asks Linus if he wants to be the first man on the moon.

In July 1967, the bird (unnamed yet) has “long hair” and Snoopy calls him a bird hippie.

Charlie writes to his pencil pal in Nov 1967 and says, “According to what I read, your country hates my country and my country hates your country.  I don’t hate you, and I don’t think you hate me.  I think about this a lot.  It makes sleeping at nigh very difficult.”

In Jan 1968, the girls are going to have a “crab-in.”

Dec 18 1968 Snoopy has a sled and Charlie looks at it and says “Rosebud?”

In June 1968, Snoopy says he thinks he is in love with Twiggy.

In August, Snoopy says that you never hear anyone sing “Chloe” anymore (although which song that is, I’m not sure.  Perhaps the Al Jolson one).

In Nov, Snoopy says he is feeling groovy (the Simon and Garfunkel song came out in 1966).

There are references to the election year with the birds holding ups signs that say ? and !!  Snoopy say he’ll vote for the one with the paw print on it.

My two favorite jokes in the book have to do with math.

Sally is trying to learn her times table and guesses answers like “Four-thousand six? elventy-twelve? fifty quillion? overly-eight?  twiddelty-two?”  Then she  asks “Am I getting close?” And Charlie responds, “Actually it’s kind of hard to say.”

In Dec 1968, Peppermint Patty says she loves numbers.  “Twos are sort of gentle, threes and fives are mean, a four is always pleasant.  I like sevens and eights too, too but nines always scare me.  Tens are great.”  When a classmate asks if she has prepared her division homework, she says “Nothing spoils number faster than a lot of arithmetic.”

~~~~

In my edition the May 1 strip is repeated instead of the May 3rd strip! (The missing strip will apparently be printed at the end of the next book).

John Waters give the best foreword yet.  He actually references strips in this book!

He says he became obsessed with peanuts when he had mono in 6th grade.  He loves the depression paranoia and delusions.   But John was all about Lucy.  He loves her politics, her manners “Get out of my way!” her narcissism and her rants.   He says he has a niece named Lucy and Schulz got the expression perfect when she yells “No” on page 61.

He also says that for the most part the strips don’ age at all (with a few exceptions).  He talks about Lucy shouting “police brutality” at Charlie as a crossing guard!  He also says that Schulz was criticized for including the minority characters (which is shocking).  Waters is also fascinated by characters like Roy who are rarely if ever heard.

Pig-Pen was an inspiration for Dingy Dave in A Dirty Shame; Divine cutting up her daughter’s jump rope in Female Trouble is inspired from a Peanuts strip.

He sums up with the attitude that Peanuts presents:

You are dealt a hand.  Deal with it.  But most importantly he teaches all ages that if you can learn to laugh at the things that cause you the most pain, you will be the strongest of all.

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1965 SOUNDTRACK: TIME FOR THREE-Tiny Desk Concert #291 (July 27, 2013).

time for 3Time for Three are a string trio who play many types of music.  There are two violinists Zachary De Pue and Nick Kendall with a double bassist Ranaan Meyerand.  And over the course of their three songs (all original) they play classical, jazz, bluegrass and just about everything in between.

“Banjo Love,” features two contrary violin solos which get support from Meyer’s expressively propulsive bass.  It opens with the two guys strumming the violins before breaking into some lovely bowed playing.  Both violinists switch off solos (the blond player is a bit faster and more “showoffy” (but great)).  There’s even a bit of a bass solo after which the three guys all make a big grunt before continuing to the end of the song.

They say they are honored to be on the Tiny Desk series and compliment them on their new offices.

“Sundays” is a slow piece that features lots interesting bass parts behind the slow violin melodies.

They have funny stories about the origins of their songs.  “Don Don” is so named because the baseline goes don… don.  This has more of a bluegrass fiddle feel than a classical feel.  It’s super fast and fun with perfect slides and solos to really keep the song moving.

The notes say that they wished the guys played more, and I do too.  Interestingly I see that they have covered Daft Punk and Kanye West, so I guess they’re up for just about anything.

[READ: December 8, 2015] The Complete Peanuts 1965-1966

A whole bunch of ideas that I think of as BIG PEANUTS ideas come along in this book.  May of 1965 introduced the Daisy Hill Puppy Farm and Snoopy’s desire to meet his siblings.   In July of 1965 we get the first instance of snoopy at the typewriter writing “it was a dark and stormy night.”  We see Charlie Brown refer to the tree as a “kite eating tree” for the first time.  In July 1965 it’s the first time I can recall seeing the phrase “jelly bread.”  It’s the first appearance of Snoopy as Beau, the World War 1 flying ace (Oct 1965).  And in September 1966 we get the first appearance of Peppermint Patty!

The pop culture references seem to have dimmed somewhat too, although in January 1965, Linus cries “Annette Funicello has grown up!”

The “Happiness is” quotes are fewer, although Lucy squeezes Snoopy and says “Felicitas est parvus canis calidus,” which is Latin for “Happiness is a Warm Puppy.”   Of course later when he kisses her she freaks out “get some disinfectant, get some iodine” and he says “next time I’ll bite her on the leg.”

Linus’ blanket also takes on a mind of its own in March 1965 actually hissing at and attacking Lucy. (more…)

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1963SOUNDTRACK: RESTORATIONS-Tiny Desk Concert #462 (August 14, 2015).

restor I don’t know Restorations, although I understand that they usually play pretty big loud guitar rock.   For the Tiny Desk they are stripped down (I guess) to the three guitars, but no drums or bass.  Lead singer Jon Loudon has a powerful and excellent voice.  On “Separate Songs” there are two guitars and a keyboard and wonderful harmonies.  The keyboardist sings backing vocals in the beginning of the song, so that when the lead guitarist joins in later, it’s even more impressive.

The guys are very friendly and funny.  The joke about the “desk” and about their constant tuning needs.

For “Tiny Prayers” all three play guitars and there some wonderful melodies that they play together.  The Future” is the slowest song of the three, but it contains all of the same elements–cool guitar sounds and wonderful harmonies.

The band has a great sense of melody.  And yet for all that I liked t his set, there was nothing that really stood out for me about the band.  They are simply a good rock band, and that’s not a bad thing.

[READ: November 29, 2015] The Complete Peanuts 1963-1964

The drawing style of Peanuts that I most associate with the strip has been pretty consistent by this point.  And most of the characters look “right” (although Snoopy will continue to morph over the years).

Why does Charlie Brown keep going?  Despite all of the abuse Charlie gets, this one strip seems to sum up his strengths: “adversity is what makes you mature…the growing soul is watered best by tears of sadness.”

I feel like Schulz was either looking up facts to write about for some of this year.  Because we get things like this: Lucy: “You have to have [a note excusing you from school] otherwise the school can’t collect its state-aid money.”  Is that true or has Lucy hoodwinked Linus and me?  Later Charlie tells Lucy “when cranes and herons stand on one leg they can’t be injured by ground lightning.”  Later, Linus tells Sally that birds “have muscles in their feet which automatically contract when they fall asleep (which is how they sleep on a limb without falling off).  He then says the same principle applies with Snoopy’s ears.  Is this true?

In July 1963, there must have been an eclipse as the strip spends several days telling everyone how to safely watch it.

Linus’ blanket continues to occupy a lot of attention, with Lucy continually yelling at him about it.  His blanket hating grandma returns and even takes it away (she gives him a dollar bill which he tries to snuggle with).

Linus is full of ambition in these years.  He wants to be a rancher for several weeks in 1963.  Although, horror of horrors, he doesn’t make the honor roll in March of 1963.  But that doesn’t stop him.  And in a big surprise in 1964, he runs for school president (and has but one failing…and it’s not his blanket).

Schroeder continues to dismiss Lucy, this time even saying the chances are a googol to one (and then writing out how many zeros that is) of them getting married.  In July 1963 she complains that Beethoven never made it on any bubble gum cards.  Later when Lucy asks him why he doesn’t like her, Schroeder gives a very simple answer.  She replies, “I hate reasons.”

Rachel Carson returns in Feb 1964 with Lucy saying “we girls need our heroines.”  Of course Lucy also gets this quotable moment: “The crabby little girls of today are the crabby old women of tomorrow.”

Attacks on consumerism continue with a shoddy baseball about which Charlie says “this is what is called ‘planned obsolescence.'”

Speaking of baseball, there’s plenty of it.  I enjoyed the Sunday strip where Charlie using Snoopy to show how to break up a double play.  In 1964, Charlie suffers from Little Leaguer’s Elbow (and the team does great without him).  And when Lucy hurts her elbow (and refuses to call it Washerwoman’s elbow) she says she’ll sue Babe Ruth, Ty Cobb and Willard Mullin (Mullin was a sports cartoonist).

In August 1963, we see the first mention of Charlie Brown’s baseball hero Joe Shlabotnik (and the very distressing moment when Lucy won’t give let Charlie have his card).

I got a real kick out of Schulz returning to the McCovey joke from last year (in January!) saying “or why couldn’t McCovey have hit the ball even two feet higher?”

In 1963’s National Library week, Sally gets her library card this time and she is even more excited than Linus was.  She even has the line: “Happiness is having your own library card.”

Sally also addresses helicopter parents of 1963: “My mother is watching me out of the window.  Mothers feel secure when they see a child of theirs playing in a sandbox.  Sigh.  She’s secure and I’m bored to death.”

The little red-haired girl is obsessed over from time to time. Especially during Charlie’s lonely lunches.

Frieda has definitely dwindled by now–even if she never really did much.  She does abuse Snoopy about chasing rabbits but in one strip, we seem him playing with bunnies and four sleeping on his stomach on top of his doghouse.  This seems to set in motion Snoopy’s love of all other animals.

Later, there’s a really funny strip with Snoopy trying to fill his water bowl from a tap.  Then it rains on him.  The punchline “That’s one I’m going to have to think about for a while” is hilarious.

And…Snoopy goes to the hospital for a couple weeks! (nothing serious).  Charlie says he has a private room “he has a health insurance policy that pays forty dollars a day!”

In September of 1963, there’s a joke about ZIP Codes (Snoopy forgets his) and then shortly after a new character named 5 is introduced.  He explains, “My dad says we have so many numbers these days we’re all losing our identity.  He’s decided that everyone in our family should have a number instead of a name.”  His sisters 3 and 4 look like Peppermint Patty (who hasn’t arrived yet).  ZIP codes were introduced in 1963.

At Halloween in 1963 Linus slips about the Great Pumpkin and says “if he comes” (like in the TV show).  He’s doomed!

In February of 1964 a whole set of strips focuses on the existence of the humane society.

And in May of 1964 we get the classic bit from the movie when Charlie puts a coin in Lucy’s can and she sings “Boy what a sound.  How I love to hear that ol’ money plink!  That beautiful sound of cold hard cash!  Nickels! Nickels! Nickels!”

In June of 1964 there is a very touching Father’s Day strip.  (Although it wasn’t officially recognized until 1966 and signed into law as a official day by Nixon in 1972).

I really enjoyed the series of strips where they clean out Snoopy’s house and the dimensions (which we never see) are enormous!  There’s stairs, a pool table and all kinds of cool things.

For years now, Peanut has had strips where charters hold up signs–sometimes for Beethoven’s birthday, or national library week.  But in Sept 1964 it gets a bit more surreal with a bird holding a sign that has  ! on it.  Later another bird’s sign says ; and ?   A fight breaks out about it.  It’s very funny.

And in October 1964 Lucy pulls away the football despite given Charlie a signed document… “it was never notarized.”

And the year ends with something of cliffhanger.  Charlie has to do a report on Gulliver’s Travels over his holiday break, but he keeps putting it off… what will happen in 1965?

The foreword was written by Bill Melendez.  Melendez first met Schulz when they collaborated on an animated commercial for the Ford Falcon in 1960.  In 1963, they worked together on a documentary about Schulz using more animation.  Then in 1965 Coca Cola contacted him to see if Schulz would like to make a Christmas special.  They had 5 days to write the outline.  They used the kids from the Ford commercial as the voices. And they had six months to make the move.  It first aired on December 9, 1965.

Melendez raves about their work (rightfully) and then talks about the many other specials the made together–a Veterans’ Day one called What Have We Learned, Charlie Brown, and a show about cancer called Why Charlie Brown, Why?   In total they made fifty network specials and 4 feature films.  He talks about how great it was that they found Vince Guaraldi for the music and that they used real kids and no laugh track.  It’s hard to believe that special is so old!

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5dials32bSOUNDTRACK: SYLVAN ESSO-Tiny Desk Concert #429 (March 30, 2015).

sylvanI haven’t really gotten into Sylvan Esso (NPR loves them), although there was something about the show that made these songs, which I’d heard before, gel for me.  Perhaps it was seeing Amelia Meath dance (or make that hilarious face).  Or her commenting about how quiet the room is and that maybe everyone could “move like the seaweed in Ursula’s cave.”  Maybe it was the preposterous shoes she is wearing.  Or maybe it was watching Nick Sanborn play around with this new to him equipment.

Or maybe it was just time for me to “get” them.  They have a  great chemistry in this setting, and Meath’s voice is really pure and beautiful.  I love that she often sings without moving the microphone to her face.

They play three songs: “Coffee,” “H.S.K.T.,” and “Come Down.”

It’s also hilarious that her dad sends her texts messages during the show (which she reads to us while Sanborn is trying to fix the equipment).

This is a great set and funny banter from this charming band whom I should listen to more.

[READ: April 3, 2015] Five Dials 32b

The email that accompanied this issue explains what those words in the title mean.

In Maori, there’s a word for the extra bit of time added at the end of a game, perhaps after the final minutes of a rugby match. Wā tāpiri is the noun. We’ve decided to make this our wā tāpiri issue. At the beginning of June we released an issue dedicated to new New Zealand writing.  Our wā tāpiri issue offers extra time for you to read some of the wonderful Janet Frame’s correspondence and look at a few untamed paintings from Shane Cotton. We’re pleased to be able to include them in our extended New Zealand special.

So there’s only two things in this extra issue.  Some letters and some art.  I enjoy these little extra issues, and this one is especially cool.

JANET FRAME-Correspondence: Camping in Our House
This is a series of letters passed between New Zealand author Janet Frame and poet Charles Brasch.  In 1963 and 1964, they share some nice compliments.  And then in 1969 they talk about what home (New Zealand) is like, while she is away at Yaddo.  First off, it’s interesting to hear that a) Yaddo was around in 1969, b) just how many famous people were in residence and c) the interesting details of residence there.  We also learn about some troubles in New Zealand but how they pale in comparison to the troubles in the States where “West Virginia has just passed a law which reads ‘police or mayors shall be guiltless if anyone is killed or wounded in an attempt to put down a campus disturbance even if this victim is only a spectator'” (Jesus!).  Meanwhile she is happily staying for free in Yaddo and getting a lot of work done.   There is also a facsimile typed letter from 1967 (which is fun to read and to see that people made mistakes back then and just fixed them with pen) in which she talks about first going to Yaddo.

JUSTIN PATON-“Shane Cotton’s The Haymaker Series”
Paton introduces Cotton’s Haymaker series which is indeed 5 panels on the wall of a gallery (each piece is presented in this issue too).  He describes how the New Zealand artist references other artists well as his own previous works in these panels.  He references the carved heads from his Tradition History & Incidents (from 2009), in addition to many other.  But this is not a retrospective piece.  This introduction really gives some great context for the works (which I talk about below before having read this introduction).

SHANE COTTON-The Haymaker Series
From Page 10 is the Haymaker series, mechanical and geometric prints in front of a gray foreboding background which looks like a storm.

The final page shows some photos from the launch of issue 32, including a link to a video by Lail Arad who was at the launch.  It’s a quirky video for her song “Everyone is Moving to Berlin.

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harper septSOUNDTRACK: PHISH-Junta (1989).

juntaI’ve been listening to a lot of live Phish as of late and thought it would be interesting to see if there was truth to the adage that Phish is great live but not so great in the studio.  So here is their first official album.  It was released as a double album, and when it was reissued on CD some bonus material was added.  Incidentally, I just found out that the album if pronounced “juhnta” and not “hoonta” because of the engineer they worked with.

The album starts with “Fee” which is a fun song (the lyrics are wonderfully weird) and they don’t play it all that much so it’s a treat to listen to.  I enjoy the way the verses sound compressed and distant but the choruses are nice and full.  There’s also some funny and interesting sound effects (some of which accentuate the action) throughout the song. This sound effects and noises processing has been with Phish from the beginning and they kept it up through many of their earlier, less mature albums. “You Enjoy Myself” is a live favorite so it’s fun to hear it in this version.  As with a lot of their earlier records, this song sounds a little stiff, especially if you’ve heard the wild live versions. It’s not bad at all, indeed, it has a perfectionist quality to it—the time changes are perfect, the solos are flawless.  Indeed, it’s quite an achievement (and in this more polished version it sounds more like Yes than their live versions ever did).  Interestingly when we finally get to the lyrical section (about 5 minutes in) it’s quite a bit slower than they play live.

“Esther” sounds much more theatrical here.  The music is gorgeous and there are lots of effects and backing vocals which bring a bit more menace to the song than the live version possesses. This also had a very prog rock sensibility to it.  “Golgi Apparatus” has a lot more in the way of backing vocals than the live version.  And “Foam” has some changes: the bass is especially loud and funky and yet the pace is so much slower than I’m used to.  The odd thing is the kind of stiff way that the lead vocals enunciate everything.  And the deep voice (Mike?) is quite amusing at the end of the song.  “Dinner and a Movie” is a fun and silly song and this version is especially enjoyable because of the backing voices and chatter and laughter which illustrate the dinner (and presumably the movie).

“Divided Sky” has a beautiful melody and it’s nice to hear it played so pretty and simply here.  But again the remarkable thing is how much slower the song is here.  “David Bowie” also sounds great (there’s all kinds of weird sounds effects in the background of the (very long) soloing section—I have no idea why or what they might be).  The solo sounds like it was maybe done in one take as there’s a couple spots where it’s not “right,” (whether flubs or intentional is hard to say) but it still sounds terrific.  In fact a number of tracks have some little flubs which makes it seem like they either didn’t mind or tried for a more live feel.

“Fluffhead” sounds solid and like the live versions.  What I never realized until I actually paid attention is that the bulk of the music (the extended jam session) is called “Fluff’s Travels.”  “Flulfhead is only 3 and a half minutes, while “Fluff’s Travels” is over 11 minutes (it opens with the beginning of the guitar solo–the catchy riff that starts the lengthy jam).  “Contact” is a delightfully silly song about tires and cars that I’ve always enjoyed and find myself singing often because the melody is so simple.

What’s funny is that the end of “Contact” kind of bleeds into “Union Federal” which is listed as a live song (and clocks in at over 25 minutes long).  This “Union Federal” is an improvisational jam (or an Oh Kee Pah Ceremony—where the guys would get together with instruments (and other things) and jam for a time.  This song is weird with many layers—and is rather typical of one of Phish’s weirder jazz –flavored improv sections (meaning that there is a lot of dissonance and noise).  It’s quite jarring especially after all of the melodies and prettiness of the album proper.  And I can see a lot of people not being happy about its inclusion.  “Sanity” on the other hand is a fun song.  In the intro, they keep claiming the song is by Jimmy Buffett. They are clearly very silly in this setting, especially at the end of the song.  The final track is a live version of “Icculus” the song which is pretty much all buildup.  In the intro they quote U2 “This is red rocks, this is the edge.”  But the “joke” of this version is that Trey keeps postponing the name of the person who wrote the name of the Helping Friendly Book–stalling in any way he can.  As the song gets louder and louder and more absurd, the guys are even more frenetic.  It takes over 3 and a half minutes to get to the proper lyrics of the song.   And then the song itself is about 15 seconds.  Absurd nonsense.  But very amusing.

So this is quite a solid debut album, and the amount of songs that they still play live shows how fond everyone is of it.

[READ: October 2, 2013]  “Wrong Answer”

I didn’t hate Algebra.  I rather like solving puzzles so I enjoyed solving for x.  Algebra II I recall being more daunting and less fun with lots of formulae to memorize.  And, unlike everything promised, I have never used any of it in my adult life (geometry and angles, sure, but not logarithms).  According to this article the new United States CORE curriculum (which I know my son is dealing with already in 3rd grade) says that high school graduates must have Algebra II.

The reasons for this intensification in the studying of math are many (starting around the time of Ronald Reagan) but the current push comes from Arne Duncane, the U.S. secretary of education.  He believes that “algebra is a key, maybe the key to success in college.  Students who have completed Algebra II in high school are twice as likely to earn degree as those who didn’t.”  Whether or not that is true, those of us who earned a degree in nonmathematical  subjects certainly were not aided by this class.  But Nicholson Baker explains that the reason this might be true is that for most colleges, Algebra II is a prerequisite.  Ergo: if you don’t take Algebra II you can’t get into college because colleges require Algebra II.  That, for those who may not have taken logic–a far more useful course than Algebra II in daily life–is called a tautological fallacy.  [Indeed, I maintain that all high school students should have to take a course in logic because they would then be able to see through all of the builshit that politicians spill and claim to be logic.  Like the current (as I type this) government shutdown in which Republicans are claiming they didn’t want to shut down the government when they in fact signed papers saying they were going to shut down the government).]

The real problem with Duncan’s postulate that everyone should take Algebra II (“airplane mechanics do complex measurements and work with proportions and ratios…X-ray technicians calculate time exposures to capture the cleanest possible image.  Most factory workers need to understand Algebra II or even some trigonometry to operate complex manufacturing electronic equipment”) is that even if that were true (I don’t have any idea of it is or not), most people do not do those kinds of jobs.  And even if they did know higher math, they would still be salesmen, graphic artists, librarians, preschool teachers, custodians and many many other jobs that in no way require math. (more…)

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43SOUNDTRACK: IRON MAIDEN-Killers (1981).

killersKillers picks up right where Iron Maiden left off–indeed many of these songs were written at the same time as the first album.  The difference is new guitarist Adrian Smith.

It opens with the great (but simple) instrumental “Ides of March” which segues into the blistering “Wrathchild.”  And it’s on this song that you can tell some of the rawness has been removed from the recording.  The guitars sound a wee bit more polished.

And you can tell the band are getting a bit more symphonic with the bass harmonics that intro the wonderful “Murders in the Rue Morgue” a song that feels long but actually isn’t.  It has several parts that all seem to signal the end until Clive Burrs drums come pounding in to restart the song.  Very cool.  “Another Life” is another fast punky song, and while I like it, it is probably one of the weaker songs on the album.  But that’s okay because it is followed by one of Maidens greatest instrumentals–“Genghis Khan” which has beautiful symphonic soaring solos over a cool propulsive beat.

“Innocent Exile” opens with another great noisy slappy bass riff that only Harris was doing at the time.  “Killers” is a classic track: fast and yet complex, with a very cool riff.   “Twilight Zone” sees Di’Anno reaching for higher more operatic notes.  He makes it, but you can just tell that the band needs more from their vocalist.  “Prodigal Son” opens with a pretty acoustic guitar intro.  I used to like this song quite a bit (whatever Lamia is), but I can see that it’s actually quite long and meandering (maybe this one is more like “War Pigs”).  It’s pretty but could probably be a bit shorter.  “Purgatory” sounds like track off the first album–fast raw and punky with screaming riffs.  “Drifter” ends the disc with a cool bass line and some more thrashing.  It’s a solid ending for an album that overall works pretty well, but which kind of shows that the band had to either do something big on the next album or get stuck in a rut.

[READ: June 1, 2013] McSweeney’s #43

And with this issue I am almost all caught up with my McSweeney’s.  More impressively, I read this one only a few days after receiving it!

This issues comes with two small books.  And each book has a very cool fold-out/die cut cover (which is rather hard to close and which I was sure would get caught and therefore ripped on something but which hasn’t yet).  The first is a standard collection of letters and stories and the second is a collection of fiction from South Sudan.  Jointly they are a great collection of fiction and nonfiction, another solid effort from McSweeney’s.

Letters (more…)

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bernSOUNDTRACK: GARBAGE-Garbage (1995).

garbageWhen the debut Garbage album came out I was totally hooked.  I was initially skeptical of the album–the sneaky release of “Vow” with no hype (but hype), the Butch Vig connection.  But I heard it and wow.  Then the rest of the album did not disappoint.  I listened to this album so much it’s hard for me to even be objective about it.  For a time this was my favorite album.  My biggest celebrity bummer was when I found out that they were appearing at a Newbury Comics and I went to the wrong one.  By the time I got across town to the real location, the line was huge and the clerk cut off the line about four people in front of me.  Ugh.

I’m not sure what it was about this album–it’s slick, it’s technically overproduced (three producers who spent countless months tinkering with it) but it doesn’t really sound overproduced. It’s an interesting pastiche of pop, grunge, electronic and goth.  It’s a dark album for sure, but it has pop tones all over it.  It’s also musically interesting, like the way the disc opens.  The opening riff of “Supervixen” is a few notes and then just stops                            and then resumes.  It’s weird and off-putting for the opening of an album and it immediately grabs you.

Then you get the sultry goth-lite of “Queer.”  Overtly sexual, dark and sneaky it’s a perfectly naughty radio friendly alt rock song.  This was released during a time when women were ruling alt-rock, so it wasn’t singular in any way, but it certainly led the way for more women fronted gothy bands.  And so did “Only Happy When it Rains” –the surprise mope rock hit.

“As Heaven is Wide” is a really dark song, understandably not a hit, but really sexy and groovy.  “Not My Idea” brings in some of the first non minor key chords–where Manson sings in her sweeter voice until the raucous chorus.  “Vow” seems like such an unlikey first single–the stuttering guitar the nonsinging vocals, it really doesn’t showcase Shirley’s voice all that well.  But as a middle of the album song it’s nice and hard hitting.  “Stupid Girl” was also pretty huge–it’s got some wonderfully raw sounds to keep it from being too treacly (well and the lyrics do too, of course).

“Dog New Tricks” has a lot going on musically underneath Manson’s voice that I still find it really compelling–like the staggered guitars that don’t seem to fit, but do.  “My Lover’s Box” (which I always assumed was called “Send Me An Angel”) is another slow sultry number although the guitar riff is way too reminiscent of Aldo Nova’s one hit (“Fantasy).  “Fix Me Now” is one final loud, oddly upbeat song, followed by the wonderful gothy closer “Milk” which emphasizes keyboards in a way that the rest of the album doesn’t.

It’s a great debut, an album that I still regard very highly even if I don’t listen to it all that often anymore.

[READ: February 3, 2013] Where’d You Go, Bernadette

Sarah brought this book home and said I would like it.  And I was able to read a few pages when she ran into a store and it was very funny so I couldn’t wait to read the whole thing (despite the rather stupid cover).  Maria Semple was a writer for Arrested Development among other shows and recently turned her pen to novels (this is her second book).

One of the delights of this book was having literally no idea where it was going.  Meaning that by the end of Part Two (there are six parts), I really had no idea where it would end.  By the time it ends it all makes sense, but it wasn’t telegraphed, which is pretty cool.  This book also ties nicely to Mr Penumbra’s 24 Hour Bookstore.  In Penumbra, much of the action took place at and around Google.  In Bernadette, much of the action takes place in and around Microsoft.  Based on these two fictionalizations, it sounds like Google is a more enjoyable place to work as Google gave you free food made to your specifications whereas in Microsoft all they had was free candy machines (and lots of layoffs and jealousy that they can’t use an iPhone).

The story is narrated by Bee, and eighth grader who scores all S’s on her private school report card (S is the highest you can get, since they don’t believe in grades).  The note accompanying the report card raves about Bee’s intelligence, generosity and helpfulness around the school).  That night at the dinner table, Bee tells her parents what she wants for getting such a great report card (she had always wanted a pony, but has changed her mind): She wants to go to Antarctica on a cruise with the family.

This presents a problem for Bee’s mother Bernadette because she pretty much never leaves the house.  Well, she does, but only to drive Bee to school.  She has recently started outsourcing her life to a woman in India (for 75 cents an hour). The woman does literally everything for her, including making reservations at a restaurant 1/2 a mile from Bernadette’s house.  But Bernadette wasn’t always like this.  Indeed, she was once a future star in the architecture field until the tragic event that changed everything for her.

That change inspired a move with her husband, Elgie, to Seattle (a city which she now loathes–in great detail) where he found a job at Microsoft.  He thrived there and soon was put in charge of the Samantha 2 project–a program that allows you to interact with all your devices using only your mind (his TED talk is the fourth most viewed ever!). (more…)

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12SOUNDTRACK: FRANK OCEAN-“Bad Religion” (2012).

frankoI didn’t know anything about Frank Ocean until I started looking at all of the  Best Albums of 2012 lists.  He was on everyone’s list and was pretty near the top of all of them.  So it was time to check him out.

It  turns out that he’s affiliated with the Odd Future collective, whom I’ve talked about in the past.  But he’s also been on a lot of big name records.  Channel Orange is his debut album (that’s not a mixtape) and the big surprise seems to be that this song (which he sang live on Jimmy Fallon) is about a male lover.  And I guess that’s progress.

So Ocean sings a slow R&B style, and I have to say his voice reminds me of Prince a lot.  Which is a good thing.  I really like this song.    It has gospelly keyboards (but in that Purple Rain kinda way).  And a really aching vocal line.  It’s really effective and it’s really simple.  And I think that’s what I liked best about this song and others that I’ve heard–he’s really understated.  Crazy, I know.

Now I do not like R&B, it’s one of the few genres that I just don;t get.  And yet there’s something about this album (the tracks I’ve listened to) that is really compelling.  It’s not awash in over the top R&B trappings, and it doesn’t try too hard.  It’s just Frank  (not his real name) and his voice over some simple beats.  A friend of mine recently said that all of a sudden she “got” this album, and  I think I may have to get it as well.

[READ: December 30, 2012] McSweeney’s #12

At the beginning of 2012, I said I’d read all of my old McSweeney’s issues this year.  I didn’t.  Indeed, I put it off for quite a while for no especial reason.  Now as the year draws to an end, I’m annoyed that I didn’t read them all, but it’s not like I read nothing.  Nevertheless, I managed to read a few in the last month and am delighted that I finished this one just under the wire.  For those keeping track, the only issues left are 13, 14, 15, 16, 20, 10, 38, (which I misplaced but have found again) and 42, which just arrived today.  My new plan in to have those first four read by Easter.  We’ll see.

So Issue #12 returns to a number of different fun ideas.  The cover:  It’s a paperback, but you can manipulate the front and back covers to make a very cool 3-D effect (by looking through two eyeholes) with a hippo.  The colophon/editor’s note is also back.  Someone had complained that he missed the small print ramble in the beginning of the book and so it is back, with the writer (Eggers? Horowitz?) sitting in Wales, in a B&B, and hating it.  It’s very funny and a welcome return.

As the title suggests, all of the stories here are from unpublished authors.  They debate about what exactly unpublished means, and come down on the side of not well known.  And so that’s what we have here, first time (for the mos part) stories.  And Roddy Doyle.

There are some other interesting things in this issue.  The pages come in four colors–each for a different section.  The Letters/Intro page [white], the main stories [pink], the Roddy Doyle piece (he’s not unpublished after all so he gets his own section) [gray] and the twenty minute stories [yellow].  There’s also photographs (with captions) of Yuri Gagarin.  And a series of drawing that introduce each story called “Dancewriting”–a stick figure on a five-lined staff.  They’re interesting but hard to fathom fully.

LETTERS (more…)

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41

SOUNDTRACK: SWANS-Live at All Tomorrow’s Parties, October 2, 2011 (2011).

swansatpBefore Swans released this year’s amazing The Seer, they toured supporting their previous album (with a number of songs from The Seer included). This set has two songs from The Seer, “The Apostate” and “The Seer, Pt 1” together they comprise 50 minutes of the nearly two hour show.  The set also includes “No Words No Thoughts” (24 minutes) and “Jim” (a teeny 6 minutes) from 2010’s My Father Will Guide Me Up a Rope to the Sky.  The final track is an eleven minute version of “I Crawled” which goes all the way back to 1984’s Young God EP.

I would never have thought of Swans as a jam band, and yet here they are, with 5 songs in 2 hours.  Although unlike jam bands, they aren’t showing off their musical chops or noodling solos, they are created expressive and moody soundscapes–not as scary as in days of old, but very intense nonetheless.

The set sounds great, although I imagine this would be more enjoyable to watch than to listen to (there a great swaths of music where there’ s not a lot happening).  I wonder what Gira is doing during these stretches.  My friend Phil (or Phillipe Puleo as Gira calls him here) plays drums on the album and on this tour, and I have to say he must be exhausted–man he hits the drums hard.

I listened to this show before I heard The Seer, but it didn’t prepare me for what the album would contain.  Now having heard that album, I appreciate this live show even more–they really master these long songs.  I am going to have to try to see them the next time they swing by.  I admit I used to be afraid at the thought of seeing them because their early music was so intense, but this seems to be a different Swans now, one that an old man like myself could even handle.

The set is no longer available on NPR.

[READ: December 10, 2012] McSweeney’s #41

The cover of this issue has a series of overlapping photographs of lightning.  I didn’t really look at it that closely at first and thought it was an interesting collage.  Indeed, Sarah said it looked like a science textbook of some kind.  But when I read the colophon, I learned that Cassandra C. Jones finds photographs of lightning and (without manipulating them digitally) places them together so that the lightning bolts create shapes.  And indeed, that is what is going on.  And it’s amazing!

The cover’s pictures create a greyhound running (front and back covers show different stages of the run).  There’s also circles and a rabbit running.  It’s incredibly creative and very cool.  You can see some of her work at her site.

The feature of this issue is that there are four stories from Australian Aboriginal Writers, a group that I can honestly say I have never read anything from before.  There’s also beautiful art work accompanying most of the longer stories, three gritty non-fiction pieces and some letters, most of which aren’t very silly at all.

LETTERS (more…)

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SOUNDTRACK: DESTROYER-Live on KEXP, March 19, 2011 (2011).

I enjoyed Destroyer’s Rubies album quite a bit.  And when Kaputt came out it was heralded as a masterpiece.  But I have to admit it’s a little two smooth jazz for my tastes.  The DJ in this interview describes it as being like George Michael (well, really, Wham), but George Michael knew howto write pop hits which made the smoothness more palatable.  This is kind of like extended jams of smooth jazz, which is…disconcerting.

They play two songs from Kaputt, “Downtown,” and “Song for America.” “Downtown” has a ton of cheesey sounding sax (and instrument I am growing to dislike more and more).  “Song for America” eschews much of the sax and is catchy with its pulsing bass line.  They also play “Certain Things You Ought to Know,” from Your Blues, an album I don’t know very well.  The song is kind of slow, but it tones down the cheese somewhat.  And “Painter in Your Pocket” from Rubies, a song I like very much gets a new treatment here.  It’s much more sparse, and I think I like it a little less.  Maybe Destroyer should just remain one album for me.

You can hear it here.

[READ: November 15, 2012] “Chore List of Champions”

Even though I said I was going to put off Vonnegut for a little while (there was certainly some burn out by the end), this letter appeared in Harper’s (and is in his newly released book Letters).

As the intro explains, this is a contract that Vonnegut signed with his then pregnant wife Jane, in 1947.

I think of marriage contracts these days as being crazily offensive and mercenary, as being things that would embarrass right-thinking people.  And geez, in 1947, what could he possibly have been asking.

Well, Vonnegut proves that he was a cool dude all along.  And all of the points in the contract are things that he pledges that will do, couched in his own hilarious manner.

Some examples: (more…)

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