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Archive for the ‘Military’ Category

SOUNDTRACK: hiatus.

[READ: May 13, 2023] Remnants of Filth Book 2

I didn’t expect to read any more books in this series, but then book 2 came to my desk and I had to see what happened next.  Now I’m half way into the series and I’m very curious how it will play out.  But I’m quite certain I’ll never see Part 3.  Incidentally, our library had books 2-4 of Rou Bao Bu Chi Rou’s more noteworthy series The Husky and the White Cat Shizun (why don’t we have book one?)

So, it’s been a while, what did I say last time?

The author of this book is Rou Bao Bu Chi Rou (or Roubaobuchirou).  In Chinese that is 肉包不吃肉 which literally translates into Meatbun Doesn’t Eat Meat.  This last phrase is what she is commonly known as in the United States.

This book is danmei.  According to The Guardian:

Danmei is romantic fiction about men or male beings – ghosts, foxes, even a mushroom – falling in love, written almost exclusively by and for straight women and is the most popular genre of fiction in China.

This series is about two soldiers.  Mo Xi and Gu Mang.

The two were friends and then lovers when they were younger.  They fought together and they loved each other.  This was largely forbidden and no one knew of their relationship.

And then (and we don’t know why in this book), Gu Mang switched sides.  He joined forces with the enemy.  And on the battlefield when Mo Xi and Gu Mang faced each other, Gu Mang stabbed his friend and lover in the heart.  There’s magic in these books, and Mo Xi survived.

In book one, Mo Xi brought Gu Mang out of the slavery he was stuck in.  Mo Xi has to do some twisting of reality for people to believe that he is holding on to Gu Mang for reasonably reasons but Mo Xi is so virtuous, no one questions his motives. (more…)

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SOUNDTRACK: hiatus.

[READ: August 21, 2023] Remnants of Filth

First.  Unpack the name.

The author of this book is Rou Bao Bu Chi Rou (or Roubaobuchirou).  In Chinese that is 肉包不吃肉 which literally translates into Meatbun Doesn’t Eat Meat.  This last phrase is what she is commonly known as in the United States.

In Chinese the book was called Yuwu (余污) which translates into Pollution.  And the English title is Remnants of Filth.

Second.  What is this?

This book is danmei.  According to The Guardian:

Danmei is romantic fiction about men or male beings – ghosts, foxes, even a mushroom – falling in love, written almost exclusively by and for straight women and is the most popular genre of fiction in China.

Meatbun Doesn’t Eat Meat is a very popular danmei writer and her first book series The Husky and His White Cat Shizun is a bestseller.

This series is about two soldiers.  Mo Xi and Gu Mang.  (more…)

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[READ: May 2022] Inked

I loved this book of cartoons from Joe Dator.  I can’t say that I recognize his style especially, but his cartoons did look very New Yorker to me.

Indeed, this book features dozens of comics.  It’s not always obvious which ones were accepted and which were rejected (although he does mention some that were rejected specifically).

He talks bout the state of mind of the New Yorker artists: On a very good week, they will buy one of your cartoons for publication.  Most weeks they will not buy one.  It’s a little bit like having a job at which every week you get fired then you have to go in next week to re-apply and hope you get hired back.

He has a few sections called Betwixt the Punchlines in which he explains the motivation behind a particular piece  (He says the one where the coffee maker says she’ll come back, she always comes back (while he’s using a French press) is from his own habit of buying gadgets but always returning to old faithful.

I rather enjoyed the picture of the army man with medals on his chest who say “Anytime I’ve even been asked ‘What do you want. a medal?’ I’ve said yes.”

He also talks bout his drawings of God.

God is about 7’1″ You might think that seems kind of small for the Supreme Being, but its just big enough to make the average mortal say “Wow, that’s a big guy.”  God knows people are easily impressed. (more…)

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SOUNDTRACK: NATIONAL PRAYER BREAKFAST

[READ: Summer 2021] Ok, Let’s Do Your Stupid Idea

I saw this book at work and loved the title.  I actually assumed it was a novel.  I’d never heard of Patrick Freyne and had no idea who he was.  In fact, by the time I’d read the first few essays I still had no idea who he was.  And that didn’t really matter all that much.

I suppose if you know him as a features journalist for The Irish Times, you would have some preconceived notions of what to expect.  But I tend to like “memoirs” by unknown-to-me people better than those by celebrities.  This is even addressed in the Preface.  His best friend says

“If I was going to read a book about someone’s life, it would be someone like Julius Caesar or Napoleon or some famous general”

“You know  there’s a whole genre of work that’s basically memoir writing,” I say.  “People who aren’t particularly famous witting about their lives.”
“Really?  Are you sure?”

That made me a little nervous abut going in but I figured if he put that in, it would probably all be pretty funny. (more…)

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SOUNDTRACK: JAMES NEWMAN-“Embers” (England, Eurovision Entry 2021).

.Eurovision 2021 is over and the big news (aside from drug-taking accusations against the winner) is that the entry from England received zero.  Nul points.

This is not unique, but it’s not something that anybody wants.  It’s actually better to not make the finals than to make the finals and get nul points, because no one is going to forget that.

So just how bad was “embers?”

I’m not going to defend the song, because I would never listen to it on purpose–it’s not my thing.  But by the same token I can think of a lot of songs that are much worse than this.

This song is just kind of bland.  It thinks its big and catchy with the horns and the “light up the ROOM!” line.  But really it just doesn’t do much.  I could see this song playing in a club and people would dance to it and then forget it.  No one would ask who it was or request it again.

And maybe that’s worth nothing.

[READ: May 26, 2021] 52 Times Britain was a Bellend

Bellend is such a great insult and it is exclusive to Britain, which is a shame.

Also a shame is just how terrible Britain as a country has been throughout history.

Obviously any global superpower is going to be dickish–you get power by crushing others.  You could write this same book about the United States and cover just the last four years.

But Felton, whom I’ve never heard of before, but who is apparently a huge Twitter presence, narrowed history down to 52 (one a week) examples of Britain being absolutely horrible (and somehow managing to make it funny).

How did he decide on these events?  Well, they are judged by today’s standards (saying “I’m from the past” is no excuse).

What you’ll get here is a good overview of fun and horrifying times when we were cartoonishly evil, from a comedian just as appalled as you are about what shits it turned out we were in the past.

Most of the terrible behavior involves other countries.  Like starting wars with China because they wouldn’t buy British opium.  Or making Zanzibar pay for the bombs that Britain dropped on  them. (more…)

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SOUNDTRACK: RICK ROSS-Tiny Desk (Home) Concert #169 (February 16, 2021).

I’ve heard Rick Ross’ name a lot although I don’t remember why–do people love him or hate him?  I can’t remember.

This Tiny Desk is fascinating because Ross is clearly in charge (he sits in the golden throne for some of the set), but the stars of this set are really Ross’s backing singers.  Elijah Blake (with the pink hair and muscles) and Troy Tyler have fantastic voices–singing backing and lead for most of the tracks.  And, actually I’m even more fond of his hype man DJ Sam Sneak, who is saying all kinds of things in the background in a kind of growl.  I’d love to hear his vocal track without Ross’ to really get all the things he’s shouting.

He starts with “Super High.”

This Tiny Desk marks just the second time Ross has performed with a live band. On “Super High,” from his Teflon Don album, drummer Rashid Williams and bassist Thaddaeus Tribbett lay down the foundation for Ross’ smooth cadence and signature nonchalance. Background singer and Ne-Yo protege Troy Tyler projects the lead vocal lines originally sung by his mentor.

I really like the intensity of the music in “B.M.F. (Blowin’ Money Fast).”  The heavy bass works well.  Sam Sneak is going to town with the responses.  Meanwhile, Elijah sings along accenting everything Ross raps. The live drums from Rashid Williams are great for this with heavy thumps and cymbals at the end of each line.

Blake sings lead on “Aston Martin Music.”  He has an impressive, delicate falsetto.

Monty Reynolds drops in with the sparse, yet catchy key melody that made it the contagious hit single it was in 2010.

Then Ross pauses.

At one point, Ross pauses between songs to speak on his inspirations. “So many inspired the Boss,” he says. “I could look at any brother on the street and get some inspiration from them, regardless of how many followers you got on social media, regardless of what you’re riding in. I could learn something from you. I ain’t scared to. Let’s make sure we keep building.”

“I’m Not A Star” is my favorite track–it’s got great intensity and it’s fun to watch everyone bouncing to the song.

“F*ckwithmeyouknowigotit” opens with samples from the DJ then adds low bass and sprinkled keys.  Ross says, “If you remember the Blockbuster days right now you’d be recording this with your VHS.  And I know you was one of them who never rewinded your shit after you watched it it and they charged you that extra $3 at Blockbuster.”

“Tears of Joy” ends the set with nice use of floor toms by Williams.  Dj Sam Sneak is hyping behind him.  And Troy sings backing on this one.  He’s really impressive.  The song ends as Ross rests in his chair while Elijah takes us out accompanied by grooving bass work.

[READ: March 31, 2021] “Rationed”

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

Aleksander Hemon starts his essay talking about his family routine when he and his sister were adolescents.  His parents returned from work at 3:45PM.  They ate their dinner at 4PM.  [Four PM?  That is so early!]  Did they go to bed at 6?

They listened to the news on the radio, their parents asked them endless questions about school and the whole thing was done at 4:30 after the “you must be silent” for the four twenty-five weather report.

It was like a horrible oppression.  The childrens’ ideal meal would involve Bosnian fast food, comic books, television and no parents.

Then he was conscripted into the Yugolsav People’s Army. (more…)

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SOUNDTRACKOWEN PALLETT: Tiny Desk (Home) Concert #113 (November 17, 2020).

I know Owen Pallett from their performance at Massey Hall.  It was beautifully layered orchestral pop.

Typically they loop the songs to make them bigger, but or this set, Owen changed things up.

Owen recorded four songs in multiple stages on different instruments: first, they played acoustic guitar and sang; then they performed the songs again, but this time on violin and viola; finally, Owen layered the recordings in post-production, not really knowing what the final versions would sound like. They explain the whole process, charmingly, between songs.

The setlist here is complete different from the one from Massey Hall.  Although like a that show, he mixes some songs from his first album (released as the band Final Fantasy) as well as he official solo songs.

From a bedroom in Toronto, Owen traverses their musical history, opening with a dreamy song from 2005’s debut album (as Final Fantasy), Has a Good Home, 

His guitar melody is beautiful and the layers of strings make this song feel big and pastoral.  His voice is gentle and lovely.

Before the second song, “Cliquot,” he says that in 2007, he went to Quebec with the band Beirut to write songs and record his EP Spectrum, 14th Century. and Beirut’s album The Flying Club Cup. Zach Condin gave him an instrumental and asked Owen would write a melody, lyrics and sing lead.  They don’t play it live probably because it’s really really gay and Zach doesnt want any more werotci fan fiction writen about the two of them.

Beautiful string melodies in between verses.

“Perseverance of the Saints” is from Owen’s latest record, Island. Here it’s transformed from arpeggiated piano to guitar, and I love the tone it sets.

It is so gentle with swirling strings and a gentle melody.

Owen not only performed each instrument in separate takes, but also did all the production work: recording, filming and editing. A remarkable talent captured in a candlelit bedroom.

“Song for Five & Six” is from his 2014 album In Conflict.  He says when he loops live things to end to get “overwritten and annoying,” so he’s looking forward to playing this with arpeggiated guitar instead of synth.

This song was written about an incident he saw on the Orkney Islands.  After playing some kind of ball game, the men and boys, covered in mud, would climb on the back of a flatbed truck and ride through town banging sticks on the side of the truck.  He thought it was a beautiful image and probably the only pure thing that the men have ever done.

He sings in a gentle falsetto and there’s some gorgeous strings.

[READ: December 19, 2020] “The Snowstorm”

This year, S. ordered me The Short Story Advent Calendar.  This is my fifth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

You know the drill by now. The 2020 Short Story Advent Calendar is a deluxe box set of individually bound short stories from some of the best writers in North America.

This year’s slipcase is a thing of beauty, too, with electric-yellow lining and spot-glossed lettering. It also comes wrapped in two rubber bands to keep those booklets snug in their beds.

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

It’s December 19.  Alexander Pushkin, author of Eugene Onegin, died in 1837 and so was unreachable for comment. [Click the link to the H&O extras for the story].

I have not read any stories by Pushkin before and I really enjoyed this one (translated by T. Keane).

Set in 1811, this story revolves around a young woman who has fallen in love with a young man whose station is far beneath her.  And such great quotes!

Maria Gavrilovna had been brought up on French novels, and consequently was in love.  The object of her choice was a poor sub-lieutenant in the army, who was then on leave of absence in his village.  It need scarcely be mentioned that the young man returned her passion with equal ardor, and that the parents of his beloved one, observing their mutual inclination, forbade their daughter to think of him.

They wrote to each other every day.  At last they decided that they would run off and get married in secret.  They would then hide away for a time and come back to throw themselves at their parents’ feet for their blessings. (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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31423478SOUNDTRACK: FABIANO DO NASCIMENTO-Tiny Desk (Home) Concert #43 (July 2, 2020).

fasbiFabiano Do Nascimento was born in Brazil and now lives in L.A.  he is an amazing guitar player, creating gorgeous soundscapes–‘an amalgamation of Afro-Brazilian jazz, folklore, bossanova and samba.”

For the first piece, “Nanã,” he plays what I think is a 10 string guitar (the fretboard is so wide!).  he starts a lovely melody and then the screen splits into four.  David Bergaud adds quiet piano and Julien Cantelm adds some complex drum patterns.  The fourth quarter is Fabiano again (it took me a moment to realize it, because he is in a different room).  He plays a lead guitar melody on a tiny ten stringed guitar.

The combination of his overdubbed rhythmic and melodic guitar lines, coupled with the delicate hands of piano player David Bergaud and drummer Julien Cantelm … flow into the first number, “Nanã,” a folkloric composition that “is the spirit that comes from African lineage and represents the forest … and is the primordial mother of earth.”

Up next is “Etude,” a composition by Fabiano inspired by Cuban classical guitar virtuoso Leo Brouwer.

For this piece, he switches to a six string guitar.  He has a different accompaniment.  Adam Ratner plays electric guitar (quietly) and Leo Costa play a some great complex drum (and cymbal) patterns as well as the chocalho.

Both Fabiano and Adam play leads, slow jazzy, pretty, while thr drums really do take much of the action.

Fabiano expresses

love for his motherland Brazil — an “endless foundation of inspiration” — is threaded deeply into the tapestry of his sound and ethos. If you’re looking for a musical moment of zen, this set comes highly recommended.

The final piece “Tributo” is a tribute to Brazilian composer Baden Powell de Aquino.  This piece is for solo guitar.

[READ: June 20, 2020] Make Your Bed

My son completed a leadership training course for the Boy Scouts and he was given this book as a gift.  I was intrigued by the title and because I like the guy who gave it to my son, so I thought I;d read it.

It’s a fast and easy read and I think a younger person (this was originally a college commencement address) could be inspired by it.  I’m a little too set in my ways t make many changes (although I have made sure my bed has been made ever since reading this).

The book is set up in ten chapters: the ten points that he made during the speech.  Each chapter gives a suggestion.  It is followed by the practical origin of that suggestion and then a more intense incident in life in which he used that suggestion. (more…)

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SOUNDTRACK: WIRE-Tiny Desk Concert #976 (May 27, 2020).

I feel that it is something of a failure on my part that I never really got into Wire.

Although I don’t know why, I will never forget that their 1988 album is called A Bell is a Cup … Until It is Struck (I was working at a radio station when it came out and “Kidney Bingos” was a minor hit).  But I never really followed through with them.

Bob Boilen, on the other hand, is a huge fan.

For me, it was beyond surreal to watch Wire performing at my desk, in broad daylight, in 2020. I spent many an evening over the past 40 years, listening to their original, artful bursts of noise and imagery, seeing them in dark clubs in the ’80s and beyond. From the time I first heard them in 1977, few bands have encapsulated my musical aesthetics like Wire.

There have been some hiatuses for Wire since their debut in 1977 (from 1981-1985 and 1993-1999) but each time they reunited, it was the original four person lineup.

It was only ten years ago that guitarist Bruce Gilbert officially left the band.  But at the Tiny Desk,

there they were, with three original bandmates: Colin Newman, singing his enigmatic poetry, and those driving rhythms of Graham Lewis on bass and Robert Grey (aka Robert Gotobed) on drums. Matthew Simms was the “new” bandmate, having now played with the band for the past 10 years.

Thankfully, Wire plays four songs (they still only play for 15 minutes and they are Bob’s favorite band).

What’s most remarkable is how the sound of songs such as “Cactused” from their 17th album, Mind Hive, sit so well next to “French Film Blurred” from their 1978 album — and one of my favorite records ever made — Chairs Missing.

“Cactused” has a cool chugging rhythm and bass.  Newman sings in his deadpan, almost spoken delivery.  Newman plays the little guitar leads while.  It stops on a dime.  This band is tight.

“Be Like Them” is also new.  I love this song.  It’s got a slinky guitar riff which is  accompanied by three loud thumps (drums and bass) to accent the verses.  Simms plays a really cool noise-filled “solo” (really just some noisy chords) in the middle of the song.  Newman is once again kind of deadpan reciting his lyrics.

“French Film Blurred” is from 1978. It’s got an unusual riff and Newman sings a bit more than speaks, although he is still restrained.  They make great use of the two guitars with Simms adding all kinds of sounds while Newman plays the main melody.

Everyone tunes and then Newman says they’re going to play “an obscurity from the 80s that we revived into the current set.”  “The Offer” is from 1989’s ITABA.  It’s slower and rather quiet.  There’s even some gently picked guitar parts from Simms. But as it nears the end the song gets louder and louder with Sims adding a distorted and a flanging guitar.   The songs seems like it’s over, but while everything is ringing out, Newman pays a few ending chords.

Try and imagine your favorite artist today, playing a concert in someone’s office in 2062 and still having an emotional impact with extraordinary new songs. As I said, it’s beyond surreal and genuinely thrilling.

Wire played their Washington DC show on March 9, so that’s probably when this concert occurred (and therefore MUST have been the final Tiny Desk Concert before the quarantine].  Wire were playing Philly on March 10.  I had considered going but I had a lot of other shows to see in March so I didn’t want to overload.

This set was so good, I wish I had gone to see them. Maybe they’ll be back in 2021.

[READ: May 20, 2020] Five Years #10

This is the final issue of Five Years (I think).

It was supposed to be released during the Coronavirus epidemic.  But Abstract Studios offered a special cover (so I don’t know what the proper cover looks like yet).

NEWS: We’re going to release a tiny print run of Five Years #10 for subscribers, & anyone who wants one really. This is for those reading the single issues who don’t want to wait months to read the final chapter. If not a subscriber, you can pre-order a copy in our store now. Just CLICK HERE.

The rumor is Diamond Comics will reopen this summer and we will be able to stagger release issue 9 and 10 to the general public then. 9 is sitting in their warehouse, waiting like a rodeo bull. For the small number hooked on the single issues, we feel you deserve 10 now, because without your monthly support the series couldn’t have happened at all.

So I bought the limited edition cover because I wanted to finish the series.  I didn’t think he could possibly end the series with this issue as it seemed like there was too much up in the air. (more…)

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