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Archive for the ‘Murder’ Category

SOUNDTRACK: M. WARD-Tiny Desk (Home) Concert #39 (June 25, 2020).

I don’t really know all that much about M. Ward. I was supposed to see him live on many occasions that never panned out (I think at least three shows were either cancelled or I couldn’t go).  But then I did get to see him live at the She & Him Christmas show.  I was really impressed with his guitar playing in that set.  And I’m even more impressed in this set.

He opens here with two beautiful finger-picked songs.  The first is “just” an “Instrumental Intro.”  I don’t know if it’s an actual song or just an improv, but it’s terrific (with nice harmonics).  It segues seamlessly into “Duet for Guitars #3.”  I’m not sure how you play a duet with just one guitar but it, too, sounds wonderful.

His tuning is nonstandard for all of these songs, which somehow makes them more chill and pretty.  His playing is effortless and really fun to watch.

For me, M. Ward would be the perfect artist to sit next to while he played his songs, perhaps on a couch in a small room. And that’s pretty much what you get with this Tiny Desk (home) concert. We see M. Ward in the lounge of BOCCE, a recording studio in Vancouver, Wash.

I didn’t really know his singing voice, but the blurb sums it up nicely:

That tender wispy-rasp in his voice and flowing acoustic guitar make M. Ward a musician I’d want to hear up close.

He explains that he took requests from various social media for this set.  He plays four requests and one new song.

Ward’s delivery reminds me of Sandro Perri, although a little more conventional.  “Chinese Translation” and “Requiem” are softly strummed songs and his vocals are mostly deeper with an occasional high note added in.

In between the requests he plays a new song.

Those songs fit so well with music on his new record, Migration Stories, from which he plays “Coyote Mary’s Traveling Show.”

This song sounds a little different in style–a more traditional bluesy style, I guess.  Then it’s on to

 comforting and memorable older tunes like “Poison Cup” (2006)

for which he switches to a different guitar–this one smaller (and presumably tuned differently).

Then it’s back to the first guitar for “Voice at the End of the Line” (2003). There’s some really lovely guitar work in this song.  I’m not sure I’d go out of my way to see him live but maybe one of these opening gigs will actually happen someday.

[READ: June 22, 2020] “Grief”

This story is about genocide and how to cope with it–especially if you are far away from when it happened to your family.

The narrator found it worse that no one would say the word genocide, just wry observations like “weird stuff goes on in your country.”  She had not given up hope that he mother, father, brother, sisters, her whole family back in Rwanda might still be alive.

In her homeland, the word was

gutsembatsemba, a verb, used when talking about parasites or mad dogs, things that had to be eradicated, and about Tutsis, also known as inyenzi—cockroaches—something else to be wiped out.

A Hutu classmate once told her he  had asked his mother who those Tutsi people were that he’d heard about and his mother said, they were nothing–just stories.

The narrator tried to get in touch with her family but heard nothing.

Finally, she called her older brother in Canada.  He told her that he was now the head of the family.  She received a formal letter in June confirming the deaths.  Why didn’t she have a photo of any of them? (more…)

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SOUNDTRACK: D SMOKE-Tiny Desk (Home) Concert (May 29, 2020).

The lineup of musicians for the Tiny Desk Home Concerts has been a fascinating mix of known and unknown folks.

I have never heard of D Smoke.  Apparently it’s not surprising that I don’t know who D Smoke is because

last year, the rapper and pianist, born Daniel Farris, rose to national acclaim when he won Netflix’s MC battle show Rhythm + Flow.

Winning allowed him to quit teaching and produce music full-time.  He plays four songs.

D Smoke’s songs here — taken from his latest album Black Habits, out earlier this year — acknowledge the disparities impacting the black experience that are simultaneously personal and universal. The opening selection, “No Commas,” is a heart-wrenching lament on injustice and inequality. The gentle touch of D’s fingers moving across the keys complement the song’s poignant lyrics, which he raps in English and Spanish.

I am really quite amazed at what rap sounds like without a beat, with no percussion of any kind.  These songs are performed with just the piano.  Stark and powerful.

I enjoyed the lyrics to “No Commas”

I told ’em I’m the one for the job, no commas
And I’m serious, period, no commas
Wanna enjoy my family and my friends with no drama

The song segues into “Closer to God” which has a more jazzy/lounge vibe.  He sings the chorus and has a lovely voice.

This is his first time playing and rapping “Seasons Pass.”  Although he is rapping, his is very musical about it, kind of singing more than straight ahead rapping.  But when he gets rapping, his flow is fast and impressive.

He also performed “Black Habits II,” the affecting finale to Black Habits, for the first time in a live setting.

The album is about his upbringing growing up, for the first nine years, with a single mother and then his pops coming home [from being incarcerated] and being a good role model.

He cautions us that it’s his first time playing it live so, “If I stumble a bit we gonna pick it back up.”  He does stumble a bit but it sounds great.

[READ: May 25, 2020] “Demolition”

It’s always interesting to read a story set in a different country.  I guess one always imagines a story is set somewhere familiar unless you are told otherwise.  It wasn’t until about half way through the story before I realized it was not set in the States.  And I think it was very close to the end that I realized it was set in Australia.

But the setting doesn’t matter so much because the story is about the house across the street which is being torn down today.

Eva lives across the street and is sad that the Biga house is being torn down.  Her husband, Gerald, is happy to see the eyesore go.  As they looked through the blinds, they watched people come and take souvenirs from the place.

Then came the media. (more…)

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SOUNDTRACK: DAVE-Tiny Desk Concert #908 (November 8, 2020).

Usually if you go by a mononym, your name is unique.  This British rapper goes by “Dave,” which seems rather bold since it’s hardly unique.  It also seems like it would be very hard to find in a search engine.

Perhaps the understated name applies to his understated delivery.  He has a lot of great things to say, but he’s not grandiose about how he says them.

He also seems very nervous (you don’t mind if I steal one of these waters, do you?).

 Dave made a special trip all the way from the UK just for his Tiny Desk performance. If that isn’t proof that it was a big deal, his nervousness before the show confirmed it. But he powered through in a performance that puts his gift for making the personal political on full display.

“Location” is first.  Tashera Robertson sings the introduction. There’s quiet but somewhat complex guitar work from Markelle Abraham.  Daves’ rapping is very understated almost quietly rhymes.  His delivery is almost mumbly because it is so quiet, but her remains clear.

He shares the inspiration behind the aptly-titled song “Black” from his opus of a debut. “It’s just about the black British experience,” he says. “Everyone’s experience of being black is a little bit different, but this is my take on it. I wanted to deliver it to the world and here it is for you guys.”

“Black” starts with a spooky piano melody Aaron Harvell and a very simple drum beat Darryl Howell based around rim shots.  The bass from Thomas Adam Johnson punctuates the melody.  There’s cool scratching sounds from Abraham on the guitar which add a spooky texture.  Robertson sings backing oohs and ahhs.

But the lyrics are fantastic

Look, black is beautiful, black is excellent
Black is pain, black is joy, black is evident
It’s workin’ twice as hard as the people you know you’re better than
‘Cause you need to do double what they do so you can level them

With family trees, ’cause they teach you ’bout famine and greed
And show you pictures of our fam on their knees
Tell us we used to be barbaric, we had actual queens
Black is watchin’ child soldiers gettin’ killed by other children
Feelin’ sick, like, “Oh shit, this could have happened to me”

Black is growin’ up around your family and makin’ it
Then being forced to leave the place you love because there’s hate in it

Her hair’s straight and thick but mine’s got waves in it
Black is not divisive, they been lyin’ and I hate the shit
Black has never been a competition, we don’t make this shit

Black is my Ghanaian brother readin’ into scriptures
Doin’ research on his lineage, findin’ out that he’s Egyptian
Black is people namin’ your countries on what they trade most
Coast of Ivory, Gold Coast, and the Grain Coast
But most importantly to show how deep all this pain goes
West Africa, Benin, they called it slave coast

Black is like the sweetest fuckin’ flavour, here’s a taste of it
But black is all I know, there ain’t a thing that I would change in it

The song builds slow and dramatically with more guitar work as Dave’s delivery gets more powerful.  It’s really intense.

But the climax here comes near the end, when Dave takes a seat at the piano to accompany himself while rapping his 2018 hit, “Hangman.” In the moment before he plays the opening keys, he pauses to take a breath before channeling the weight of the world through his fingers.

“Hangman” is more of the intense personal political storytelling.  His delivery is so perfect for this power of his lyrics.  This song has a few extra musical elements–some cool bass lines and guitar fills.  It also has an instrumental interlude at the end which allows Robinson to sing wordlessly.

I’m not sure if he has earned his mononym, but it’s a great show.

[READ: April 30, 2020] Bitter Root

I was drawn to this book by the outstanding cover art.  A 1920s era family dressed to the nines standing around a robot-like creature.  It’s sort of steampunk, but with a Harlem Renaissance twist,

In the essays in the back, the style of this book is described with a bunch of awesome phrases: cyberfunk (black cyberpunk), steamfunk (black steampunk) and dieselfunk (black dieselpunk).  There’s also EthnoGothic and ConjurePunk.

This story starts in 1924 indeed, during the Harlem Renaissance.

The story opens with music and dancing in full swing until something terrifying happens.

Next we see some police officers.  The black officer saying that “these people” give me the creeps.  A white police officer says “these people?” and the black officer says “The Sangeyre family ain’t my people. My people don’t mess with this mumbo jumbo.”

So then we meet the Sangeyre family.  Blink Sangeyre says she doesn’t like it that the police just bring them to their store. But Ma Etta Sangeyre says it’s better they bring them in before the kill someone.

We cut to the roof where Berg Sangeyre, a very large man with a wonderfully expansive vocabulary says “Cullen, might I offer you a bit of sagacious insight to your current predicament.  My assistance would hardly prove heuristic to your cause.”

Cullen Sangeyre is a skinnier, younger gentleman and he is fighting a bright red, horned demon known as the “Jinoo.” (more…)

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SOUNDTRACK: BURNA BOY-Tiny Desk Concert #912 (November 18, 2019).

I’ve heard of Burna Boy but I don’t know anything about him.  So:

The Nigerian singer and songwriter is one of the biggest African artists in the world. He’s also a pioneer of Afro-fusion which incorporates sonics and influences from a myriad of genres, laid on an Afrobeat foundation. The sound has been inescapable this year. The man born Damini Ogulu has been touring the world for the majority of 2019 and has at least 10 songs in the current nightclub rotation.

I was concerned when he started “Gbona” that I couldn’t understand him at all.  But it turns out the song is in Yoruba.  He even mutters something and I really like the rhythm of it, although I don’t know if its words or just sounds.

It’s weird that between the songs, there’s clapping and then silence.  No one in the band says anything.  And there’s some really long pauses.

The silence between songs must be atypical though:

his Tiny Desk performance offers something relatively different from what we’re used to seeing at his rowdy stage shows. He’s more reflective here and restrained, allowing his songwriting to shine.

“Wetin Man Go Do” opens up with some pretty, clean guitars from Gaetan Judd and some big fat bass sounds from Otis “Bdoc” Mensah.  The main melody of the song comes from Michael “Maestro” Masade Jr. or Jola Ade on the keys (they are not introduced, so I don’t know who is who).

The opening of the Tiny Desk Concert had a warning about explicit lyrics and I wondered how that would be if he didn’t sing in English. But in “Dangote” he gets this verse in

Choko, make you hustle, ma lo go
I no be olodo, I no be bolo
Wo Omo to ba lo fuck up

All of the songs feature some lovely backing vocals from Christina Matovu, although the last song, “Ye” features a sampled vocal (I thought it was Matovu’s voice filtered but it’s not).  Because she actually has a few call and response vocals and it’s nice to hear her voice alone a few times.

There’s some nice drum punctuation in the verses of “Ye” from Emmanuel “Manny” Abiola-Jacobs. Since there was some English in his songs, I thought he was saying Chewbacca (which seemed really unlikely).  So I had to look it up and this is a serious song and he’s actually saying “G-wagon”

My nigga what’s it gon’ be?
G-Wagon or de Bentley?
The gyaldem riding with me
I no fit, die for nothing

I really like the guitar sounds on this song, but overall this concert felt a little cold.

[READ: March 1, 2020] “The Fifth Step”

I started reading this story and was thinking how Stephen King’s stories used to be all about horror .  And now his stories are about people who have everyday issues and concerns.

Harold Jamieson was chief engineer of New York City’s sanitation department.  He was retired now at 68 and, despite his wife’s passing five years ago, he was pretty happy.  He enjoyed going to Central Park and reading the newspaper (if the weather was nice).

He was sitting, reading his paper, when a stranger sat on the bench with him.  He was about to get up when the man asked him for a favor.

Jamieson was definitely going to leave but the man pleaded with him and held out $20.  He said Jamieson could help save his life. Jamieson gave him five minutes.

The man, who said his name was Jack, said he was in AA and his new sponsor encouraged him to find a stranger and talk to him.  It was Step Five: Admit to God, to yourself and to another human being the exact nature of your wrongs. (more…)

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SOUNDTRACK: RAPHAEL SAADIQ-Tiny Desk Concert #920/Tiny Desk Fest October 31, 2019 (December 5, 2019).

This Tiny Desk concert was part of Tiny Desk Fest, a four-night series of extended concerts performed in front of a live audience and streamed live on YouTube, Twitter and Facebook.

Back in October, NPR allowed fans to come watch some Tiny Desk Concerts live.  October 31st was R&B night featuring Raphael Saadiq.

Saadiq did a Tiny Desk Concert in 2009 and I was surprised at how much I enjoyed it.  It was a stripped down show–more acoustic than R&B and I was really impressed with his guitarist Rob Bacon.  I either forgot or didn’t know that he “lit the fuse for soul’s popular revival as the lead for Tony! Toni! Tone!”

Well, Bacon is still with him and he is the highlight of this set for me.

This was  the final Tiny Desk Fest show and it runs just over 30 minutes, with Saadiq playing seven songs.

“I’m Feeling Love” is slow and sexy with some quiet wah wah (from Bacon and Saadiq) guitar running through it.  I rather enjoyed this part

I live my life like Willy Wonka
It’s that TV Edith Bunker
Uncle Fred and Jimmy Walker
George Jefferson had that walk

After this first song Saadiq brings out a special person.  After a big introduction it turns out to be Lucky Daye (whom I’ve never heard of) although the blurb says he is a “rising soul singer and songwriter.”

They sing Saadiq’s song “Be Here.”  I liked Saadiq’s voice last time but I found Lucky Daye’s voice to be way too poppy for my taste.  But this song features some funky slap bass DaQuantae “Q” Johnson and cool synths from Daniel Crawford.  Without question, though, the highlight is Rob Bacon’s ripping guitar solo.

Up next is my favorite song of the set.  It’s called “This World Is Drunk” (and the people are mad).  It is slow and pretty, with thoughtful lyrics.  I like the story telling better than the macking.

Lucky Daye comes back out and they’re going to do two of his songs. He says he wants to sing “Call,” but Saadiq says No, let’s do “Love You Too Much” first.  Daye sings and I really don’t think much of this R&B ballad.

I like “Call” better because Bacon switches to acoustic guitar and there some nice percussion (rim shots) from Alvin Ford.  I feel like this song is a bit less poppy and more interesting.

Before the last song Saadiq jokes about when he played there ten years ago: “it was really a tiny desk.”

“And honestly we were kinda complaining about it,” Saadiq laughs, recalling that performance in 2009, back when hosting intimate little concerts behind Bob Boilen’s desk was still a fledgling idea at NPR Music. “Like, we kinda didn’t wanna do it,” he admits in hindsight. It wasn’t until the video-taped version of his set hit the Internet and began picking up views that the lightbulb went off for Saadiq, too. “It’s like probably the biggest streaming I ever had, so it’s kinda good to be back — not kinda good; it’s really good to be back.”

The final song, “Still Ray” was inspired by southern marching bands… black colleges.  I didn’t go to one of those and my school did not have a marching band.  But one day I was gonna put a tuba in my song and it was gonna be the main thing in the song.  They asked where the hook?  The hook is the tuba!

Brent Gossett comes out (technically with a sousaphone) and I really like this song a lot.  He’s right, the tuba is the hook.  Near the end of the song he cuts out the music:  Just me and the tuba.  I’ve been waiting for this my whole life!

I still prefer his 2009 set, but there’s no denying Saadiq’s charisma.

[READ: March 1, 2020] “Spellbound”

This is an excerpt from the novel Hurricane Season translated by Sophie Hughes.

This except opens with an estate, agent saying that the woman never really died, even though her body was found in the irrigation cancel. They say she changed shape as she was being stabbed.  Perhaps she was a bunny or a lizard or bird.

But once her body was found people were quick to break into her house to see if they could find treasure.

The say Rigorito and his men broke down walls and dug up the floors. They even broke down the door of the Old Witch in the back of the room–where the Old Witch’s mummy lay preserved.  The mummy crumbled in front of them and those men fled town never to return.

That’s what some people say. (more…)

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SOUNDTRACK: PEARL JAM-“Falling Down” (2010).

On December 2, Pearl Jam announced that their fan club holiday singles will be released to streaming services.  Their first holiday single was released back in 1991.  It was “Let Me Sleep (Christmas Time).” They are rolling out the songs one at a time under the banner 12 Days of Pearl Jam.

These releases are coming out as a daily surprise.

This song, released in 2010 was recorded in 1994 at Red Rocks.  This was the only time it was played.

“Falling Down” is a quiet, mellow song.  It is typically cryptic in meaning. The chorus is louder than the verses and features some powerful vocals from Eddie.  It has a very 1994-Pearl Jam feel to it.

The middle of the song turns into an unlikely (but still mellow) jam with two guitars intertwining in a simple guitar solo and backing melody.

The song runs to nearly six minutes.  After the instrumental break, the verse returns as quietly as before until the song fades out.

[READ: December 8, 2019] “Bridgewalker”

This year, S. ordered me The Short Story Advent Calendar.  This is my fourth 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

The Short Story Advent Calendar is back! And to celebrate its fifth anniversary, we’ve decided to make the festivities even more festive, with five different coloured editions to help you ring in the holiday season.

No matter which colour you choose, the insides are the same: it’s another collection of expertly curated, individually bound short stories from some of the best writers in North America and beyond.

(This is a collection of literary, non-religious short stories for adults. For more information, visit our Frequently Asked Questions page.)

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.

Want a copy?  Order one here.

I’m pairing music this year with some Christmas songs that I have come across this year.

This story originally appeared on BBC Radio 4.  I imagine it was probably more enjoyable to hear it because of the conversational nature of the story.  It was a rather elliptical short short story that I didn’t care for all that much.

It is written as a one-sided conversation with a man who used to live in an unspecified location (Details make it seem like it’s set in a small town in Oregon).  He explains that he “just hitched out with my band and got lucky for a while.”  He has returned to visit his brother in the hospital. (more…)

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SOUNDTRACK: FREDDIE JACKSON-“You Are My Lady” (1985).

I listened to this song after reading this story.

Somehow I assumed that this song was going to be a big old 60’s or 70’s powerful soul song.

So when I started the video on YouTube and the super cheesy 80s synths began, I thought it was accidentally playing “Endless Love” (1981) instead.

Interesting how this I created an entirely incorrect imagine of Jackson based on this story.

Reading the comments on the video, this song is hugely important to a lot of people.  I honestly can’t get past the production.

But his voice is pretty fine (well, except for that middle part which is the kind of singing I do not care for).

[READ: November 21, 2019] “Arizona”

I really haven’t enjoyed much by Wideman.  I just don’t like his style.  I think in everything I’ve read, I’ve enjoyed what the stories were about, but I didn’t like the way he wrote them.  This story was probably the one I’ve liked best by him, but it felt way too long and digressive.

It opens as a letter to “Mr. Jackson” which begins “Thank you for your music…”

I assumed it was to Michael Jackson.  But it turned out to be to Freddie Jackson, a soul singer who I don’t know.  Jackson is still alive which makes this story an actual letter to him (even if it as never “sent”) which is kind of weird.

The story is (as far as I can tell) largely autobiographical.  The crux of the story concerns Wideman’s son [one of his three children] who was convicted of a murder that he committed while he was a minor and was sentenced to life in prison in Arizona.  This is an unbelievably heartbreaking thing to have read and of course it fully colors the story (and makes me feel bad for saying I didn’t like parts of it).  (more…)

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SOUNDTRACK: ROBERT SCHNEIDER-“Reverie in Prime Time Signatures” (2009).

Robert Schneider is the lead singer, songwriter, guitarist and producer of The Apples in Stereo.  He also received a PhD in mathematics from Emory University in 2018.

So he seems like the perfect person to write this complex score (even if he wrote it before he got his PhD).

In the back of the book, Schneider explains in pretty great detail how he chose to write what he did.

He also says that the music was written and and first performed at an experiemntal reading of the original script at the Institute for Advanced Study in Princeton on Dec 12 2009. Schneider played synth along with cellist Heather McIntosh and clarinet Alex Kontorovich.  The musical score is included in the book and you can hear it here

The piece is two minutes with harpsichord and a lead cello and flute with a synthesizer underneath.

It is mournful and quite pretty.

For a song that is all about odd time signatures, it somehow doesn’t feel awkward or choppy.  I don’t know enough about time signatures to even tell where the different parts are–I can’t hear it at all.  But I find the piece to be quite nice.  And it is reasonable to think that the victims could have the melody stuck in their heads.

 

[READ: June 19, 2019] Prime Suspects

Raise your hand if you want a graphic novel (illustrated by Robert J. Lewis) that is a CSI-styled investigation but is actually a pretty thorough look into higher mathematics.

I have a hard time summing up what this book is all about because I didn’t get all the math that’s going on here.  But the story itself is pretty fun and easy to follow.

The book opens with two cops finding a dead body in a tunnel  There’s also a documentary crew filming everything for the show MSI: Mathematical Science investigation.

A man in a hat and trench coat welcomes us to his world–a world where you don’t have to understand everything to know something.  Where a legendary mathematics professor became the subject of a documentary.

That professor is Professor Gauss. His assistant Mr Langer is in the precinct with Gauss to talk about what hey have found.

Langer is a formally educated student.  A bit uptight and stuffy.  One day in Professor Gauss’ class a young woman with a ring in her nose and unique fashion sense came in.   Her name is Emmy Germain and she proves to be incredibly smart.  But she is self-educated–an abomination to Langer.  But she turns out to be a delightful surprise to the documentary crew that is inexplicably filming Guass’ class. (more…)

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SOUNDTRACK: THE HOOTERS-“All You Zombies” (1985).

WXPN played this song on the day after Halloween and the DJ said she couldn’t believe they hadn’t played it as part of their Halloween show.

It made me laugh about what people consider a Halloween song (and I know I need to let up on this).  Like so many other songs, the simple fact that there’s a monster reference in the title does not make the song a Halloween song.

Indeed, this song is about as far from a Halloween song as you can get.

The song itself is catchy as anything.  A great guitar riff and some tension-building synths support these rather dramatic lyrics:

Holy Moses met the Pharaoh
Yeah, he tried to set him straight
Looked him in the eye,
“Let my people go!”
Holy Moses on the mountain
High above the golden calf
Went to get the Ten Commandments
Yeah, he’s just gonna break ’em in half!
Interestingly, there’s no real chorus to the song.  The “All you zombies” part follows the same musical and vocal pattern.  The third verse is, like the first, Biblical.
No one ever spoke to Noah,
They all laughed at him instead
Workin’ on his ark,
Workin’ all by himself
Only Noah saw it comin’,
Forty days and forty nights,
Took his sons and daughters with him,
Yeah, they were the Israelites!

The Hooters guys say there was no explicit message to the song.  A 1985 interview with the Chicago Tribune, co-writer Eric Bazilian (with Rob Hyman) said

We really weren’t thinking at all when we wrote it. We were working on something else, and, true to the spirit of the song, it just came to us, like a vision. We were sitting there working on another song, and all of a sudden we started singing, ‘All you mmm-hhhmm-mmm.’ Then I heard something about Moses in my head, and I started singing, ‘Holy Moses.’

We just chased it down. We stopped what we were doing to go after this thing, and an hour later, the song was written, start to finish. We’re still trying to really understand the song. People ask us what it’s about, and while there’s a lot of heavy stuff in there, the weird thing is we didn’t consciously put it there. Who knows? Maybe in some bizarre way it came from somewhere else through us.

Interestingly, it got banned on several stations and there were some Christian stations that refused to play it.

So, not Halloween-related at all, but super catchy and lyrically unexpected.

Also interesting is that Hyman and Bazilian went on to work with Joan Osborne on her album Relish, with Eric writing “One Of Us” another religiously themed song.

[READ: September 2, 2019] Dead Weight

I haven’t read a graphic novel by Oni Press in a while.  They were once my go-to comic book publisher.

Then they stopped doing single issues and started publishing only graphic novels.  Nothing wrong with that but I had been collecting single issues back then, not books, so they fell off my radar.  I have to get them back on my radar because I really do enjoy their books.

I didn’t know what this was about, but the title and cover art appealed to me, so I grabbed it.

This story is set at a fat camp–Camp Bloom.  We meet many of the kids who are there for the summer as well as the counselors who are there to help them get through the summer. (more…)

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SOUNDTRACK: half•alive-Tiny Desk Concert #879 (August 12, 2019).

This is one of the more fun Tiny Desk Concerts I’ve seen.  I didn’t think I knew half•alive but I recognized one of the songs from the radio.  They had just released their debut album, so I guess they are a New Artist.

Formed in Long Beach, Calif. in 2016, half•alive is a band with a clear vision and gift for design, not just in the earworms they write, but in their entire presentation, with often-matching outfits and carefully selected color schemes.

The band, fronted by singer and guitarist Josh Taylor, didn’t try to squeeze in any costume changes, but they do play three songs from their debut album.

 It wasn’t at all surprising to see and hear the care they took to make their Tiny Desk debut a memorable one.

On “RUNAWAY” Taylor sings in a kind of slacker deadpan chattering style (but catchy).  It’s quite a surprise when he sings a rather impressive falsetto in the chorus.   J Tyler Johnson plays a groovy Wurlitzer.  This is the only song with strings (Emiko Bankson: violin; Callie Galvez: cello)

I was really surprised to find that I’d heard “still feel.” before as I didn’t know this band’s name (and never knew what the song was called).  Joshua Taylor plays guitar on this song a wicked wah wah riff.  Johnson switches to bass and plays a cool funky riff throughout.  In fact this song has a massive disco feel and the falsetto vocals in the chorus really sell it

For this song, the strings have been replaced by Jordan Johnson and Aidan Carberry credited with choreography.  For this song one of them reads a book while the other is playing with a Rubik’s cube.

Well before arriving for this performance, the three guys in half•alive asked for the exact dimensions of the space behind Bob Boilen’s desk. Known for their live shows, with elaborate, synchronized dancing and costume changes, the group naturally wondered how they’d pull everything off in such a cozy space.

Their solution? Have the dancers sit for the performance. The choreography, now restricted to the width of two chairs, was incredible. You’ll see how it all works on the final song

The final song is “ice cold.” a new track from the band’s just-released debut full-length, Now, Not Yet.  For this song, drummer Brett Kramer switches Septavox while Johnson is back on Wurlitzer.  Taylor switches to acoustic guitar, but honestly who can even tell what’s happening musically because Jordan Johnson and Aidan Carberry have created an elaborate choreography.  Whenever they are on camera its impossible not to look at them.

I’m not sure if the song is any good, but I’ll be they’re a lot of fun to see live.

[READ: August 31, 2019] Crowded

I’m not sure what attracted me to this book.  The cover was certainly interesting and the visual style was cool.

But I’m so glad I read it because it is a funny (and violent) story that is all an elaborate take on crowd sourcing and social media.

The first chapter opens with a dialogue on the Dfender app. Charlie Ellison has hired Vita to Dfend her.  It turns out that someone has posted a bounty on her head on the Reapr app.

Charlie explains that she started the morning by cleaning her house for a couple who were Padhopping it for the weekend.  Then she drives for both Muver and Drift.  Then she loaned out her car for the day on Wheelsy and rented out a dress on Kloset.  Then she took a job on Dogstroll and on Citysitter *(the children seem unlooked after).  She ended her day by taking a job from Palrent to sit with an old man who feeds pigeons.

She hooked up with a guy at the bar before bed and snuck out in the morning.  That’s when the first person tried to kill her.

It was an old lady with a gun.  Charlie threw her coffee in the woman’s face, took the woman’s little dog and ran away because that’s when the second person tried to kill her.

Vita shows her the Reapr app and that the reward for killing her is over a million dollars. (more…)

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