Feeds:
Posts
Comments

Archive for the ‘Pink Floyd’ Category

june8SOUNDTRACK: KAWABATA MAKOTO [河端一]–Undead Underdrive Electrique (2019).

a3667527135_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

These are mostly abstract and meandering.  On this release he uses synthesizer and  electric guitar (and I hear a theremin).

Both of these tracks are similar although there is a clear distinction of style.

Part 1 is 22:52.  It is primarily the theremin sounds and sounds a lot like the middle siren-sounding section of Pink Floyd’s “Echoes,” but for twenty minutes.

Part 2 is 23 minutes.  It stars with a throbbing helicopter sounding pulse.  There’s lots of static and squelchy sounds.  Around 8 minutes in, it sounds vaguely outer-space like.  At 14 minutes it turns mechanical and like its breaking up and then the high siren returns.

[READ: June 9, 2020] “Praying”

This issue of the New Yorker has four one page essays called “Close Encounters.”  Since I like all of the authors, I was looking forward to reading them all.

Miranda July writes unusual pieces.  They don’t always make sense to me, but they’;re usually fun to read.  I often feel like Miranda is on a whole different wavelength than I am.

So, as this essay starts she talks bout going to the library and using her own method for finding a book.

She overhears a conversation and picks out a prominent word.  She searched for that word in the catalog and then pick the first author who shared a first or last name with someone she knew.  She would either take out that book or open it and pick out a word at random and resume the search until something grabbed her.  (more…)

Read Full Post »

SOUNDTRACK: MELLOTRON VARIATIONS-Tiny Desk Concert #954 (March 3, 2020).

Most Tiny Desk Concerts list the musicians and what instrument they play.  So I got a kick out of this lineup:

John Medeski: Mellotron; Jonathan Kirkscey: Mellotron; Robby Grant: Mellotron; Pat Sansone: Mellotron.  [that’s the lineup left to right].

Indeed, Mellotron Variations are four guys standing behind Mellotrons making a universe of sounds.

The Mellotron was a magical 1960s invention that predates sampling. It’s a keyboard instrument, with each piano key triggering a tape loop — the sound could be a string ensemble, a flamenco guitar, a saxophone and so much more. Think about the flute sounds on The Beatles’ song “Strawberry Fields Forever” and you get the idea.

We’ve never had an original Mellotron at the Tiny Desk until now. Much like a Hammond organ, it’s big, heavy and fragile. When they fired it up, with all its mechanical gears turning tape loops and moving play heads, the 15-year-old geek in me blissed out.

Pat Sansone introduces the band and gives a fascinating history of the Mellotron and how it works.  Each of the 35 keys plays a magnetic tape like on a reel to reel player (I remotely understand that and it is cool to see the mechanism at work).  The modern ones, still made by Mellotron are all digital.

When Mellotron Variations keyboardist Robby Grant and I began discussing an all-Mellotron Tiny Desk, we quickly realized that having four of these beasts wouldn’t fit behind my desk. So Robby Grant, Pat Sansone (Wilco) and Jonathan Kirkscey performed on the portable — and still incredible-sounding — 21st-century version of the instrument. At the same time, John Medeski (Medeski, Martin & Wood) tackled the original beast.

The band plays three songs.  The first, “Agent Cha Cha” sounds like a trippy spy movie.  It’s really fun watching Medeski play the original machine and seeing him kind of forcibly make the sounds do what he wants–I guess he is literally slowing down the tape that’s playing?

Robby Grant seems to handle all of the drums and percussion.  It’s then fun to watch as Sansone holds down one key to get a 60’s cartoon melody mid song.

Jonathan Kirkscey and Robby Grant play some real spacey, synthy sounds as they segue into the next song.

“Dulcimer Bill” opens with some dulcimer sounds.  It is trippy and spacey sounding for a bit and then Sansone plays what S. immediately recognized as the opening to The Beatles’ “Bungalow Bill.”  I assume Sansone has simply sampled the guitar as he plays it with one key.  The end of the song sounds so incredibly 70s (Pink Floyd all over the place)

The sonic landscape they produce as Mellotron Variations is ingenious and impressive. It’s a score with the audience as collective filmmaker, each one of us capable of creating imagery in our heads to this music of mystery and sometimes comedy. In the words of my teenaged self, “it was a trip.”

The trip concluded with “Pulsar.”  The song opens with industrial space sounds from Kirkscey while Medeski plays flute loops. Grant adds the drums while Sansone plays a kind of harpsichord in space.

[READ: March 30, 2020] “Futures”

This is a story about tennis.

It reminded me a lot of David Foster Wallace’s essay about Roger Federer.  Not because it was like it in any way, but because the one character felt about Federer the way Wallace did.

But that aspect is somewhat minimal in terms of the plot.

The story Toby lives with his father.  Toby was supposed to become an professional tennis player, but he was never quite good enough.  But Toby’s father insisted upon hosting a young Asian tennis player every year–in part to bet upon his success (Toby’s father was a gambler) but also to have a tennis pro around to help Toby get better. (more…)

Read Full Post »

SOUNDTRACK: THOR HARRIS & JOYFUL NOISE PLAYERS-Is Adam Ok? (2020).

I have been aware of Thor Harris for years.  He’s played in bands that I like and he’s played with musicians I like.

He’s an amazing all-around musician, even if his first/main instrument is drums/percussion.

Thor is also a craftsman–making his own instruments and all manner of other things.

So, when Joyful Noise Records announced that he was their artist in residence this year, I definitely wanted to see what he would come up with.

And so, he has created a 6 LP box set.  And by created, I mean he created the boxes (not the record sleeves, I don’t think) by hand and hand colored each one.  he also drew the album covers.

The first album in the collection (according to the list on the back) is this one, Is Adam OK.

The basis for this recording is this:

When musicians are working on a “song” or a specific “piece”, they are using a certain part of their conscious brains. But before the super narcissistic band leader shows up and takes the reins, they will often hang out making stream-of-consciousnesses music that is often more interesting than the conscripted “songs”.

I really enjoyed this observation about virtuosos and about himself

Interesting things happen when a musician is playing out of her comfort zone. This can be achieved by playing an instrument that you don’t usually play or by playing out of your usual genre. If you hand a guy an electric guitar and he grew up on rock and roll, the outcome is somewhat predictable at this point, mimicry of 50 years of rock and blues players. This is why virtuosos are boring to watch after a few minutes of amazement. I cannot count the number of times I’ve been asked to “play dumber” when recording drum tracks. I spent much of my youth learning hot drum licks, then my early 20s learning not to ever do them.

The first song, “Is Adam OK?” is a 22 minute improv piece.

On “Is Adam OK?” I sat at the piano prepared with sweaters across the strings. Virtuoso, multi-instrumentalist, super-freak Greg Saunier sat beside me at the piano and off into the abyss we wandered for 22 minutes.

The musicians are Thor Harris – piano, xylophone, bass drum; Greg Saunier – piano, vibraphone, bass drum; Jasamine White-Gluz – organ; Sima Cunningham – vocals; Macie Stewart – vocals; Adam Harding – vocals, field recordings, toilet flushing; C.J. Boyd – bass guitar, vocals; Daniel Smith – vocals; Kid Millions – seed husks

The piece starts with repeated piano motif. You can hear the “mistakes” as they hit the “wrong” note or go out of time, but that’s sort of the point of this piece.  Around seven minutes, the vocalists start singing like the middle of Pink Floyd’s “Atom Heart Mother.”  I rather like when, around 8 minutes, the percussion comes in and then the bass drum at 10 minutes adds a whole new layer of texture.  By 21 minutes the piece has circled back to the quiet opening with just piano and xylophone.  And it all ends with a flushing toilet

The second track, “Kindest Regards Mr Mapfumo” is 11 minutes long and feels a little less improvised.

I started “Kindest Regards Mr Mapfumo” hoping for a Steve Reich kind of 12/8 piece, but ended up with a Thomas Mapfumo kind of 12/8. A pleasant misstep. The driving instrument is an electric tongue drum that I built. I will soon put instructions for building one yourself on Instagram. I ran it thru an Old Blood chorus/delay/distortion pedal.

Thor Harris – electric tongue drum, Casio organ, marimba; Sarah “Goat” Gautier – organ; Jasamine White-Gluz – guitar; C.J. Boyd – double bass; Sima Cunningham – vocals; Macie Stewart – vocals; Marina Tadic – vocals, güiro; Adam Harding – vocals, Mellotron, guitar, güiro

The tongue drum sounds like a modifed (loud) jaw harp–a cool vibrating sound.  OHMME add some unusual vocals to the song and then a double bass comes in to ground it somewhat.  Around half way through you can totally get lost on all of the various waves of sound that wash over the tongue drum, which feels aboriginal by this point.

The vocals around the 8 minute mark are just lovely–intertwining “do do dos” that flow around almost like an Esquivel space-age-bachelor-pad vocal line.

The third song “Grief Comes in Waves” is 9 minutes and is much more creepy.

On “Grief Comes in Waves”, Andy Stack, Monk Parker and I played layer upon layer of sax and clarinet in 7 minute slabs. We added some other bits and bobs, then sent them to others to have their way with them. Jad Fair, Ohmme, and Adam added things I never would have thought of.

Thor Harris – clarinet, kalimba, organ Andy Stack – alto saxophone, marimba Monk Parker – baritone saxophone, marimba Jad Fair – vocals Sima Cunningham – vocals Macie Stewart – vocals Adam Harding – vocals

The kalmiba and marimba make for some lovely echoing sounds , but its the repeated clarinet and saxophone rumbles and blasts combining with the low organ that create a field of tension.  The vocals are more keening than singing and help to build the air of discomfort.  There’s even  growling sound which could be a human voice or an instrument.

However around half way through, OHMME start singing some syncopated notes and it adds a feeling of hopefulness, somehow.  But the feeling of despair returns by the end, effectively demonstrating the waves of grief.

This is not easy listening, but then, one shouldn’t expect that from Thor Harris.

[READ: February 24, 2020] An Ocean of Despair

This is a short, illustrated story by Thor Harris.  Although I guess it’s not really a story so much as a telling of a low point in his life.

He says in 1992 he left Austin for San Francisco.  He hoped to recover his “Self-esteem and love for life.”  But instead he became terrified of social interaction.  It became so bad he woke up with tunnel vision.  He also began having panic attacks which made it hard for him to work.

He felt suicide would be an escape from the misery, an act of mercy.

In a moment of clarity he called his older sister.  She always made him feel like he was okay.  She brought him back to Texas, told him about depression (the disease) and thought that he might be able to get treatment. (more…)

Read Full Post »

[ATTENDED: February 7, 2020] Suffacox [Mach 2]

When I entered Boot & Saddle, I saw that the opening band was named Suffacox.   I had never heard of Suffacox and was rather puzzled by the name.

I was even more surprised when I saw the band setting up because I was standing a few feet from the stage and a guy kind of squeezed in front of me (which I thought was kind of rude as there was so much empty space).  He then proceeded to remove his coat and soon enough I realized he was the guitarist for Suffacox.  Whoops.

When the band started, the guitarist, John Terlesky, told us that they were Suffacox… Mach 2.  He said that they had been a band in the mid 90s and now they were back together again.

In their first incarnation they were led by Wayne Hamilton (whom they spoke of as if I’d know who he was, which I don’t).  Hamilton has passed on and now the rest of the original band is back with an extra guitarist and a manager/backing vocalist. (more…)

Read Full Post »

SOUNDTRACK: WEYES BLOOD–Tiny Desk Concert #923 (December 11, 2019).

The new Weyes Blood album has been on many people’s best of the of year lists. I hadn’t heard any of it but I’d read that it was lovely.

When I first listened to this Tiny Desk Concert, I really didn’t think much of it–couldn’t imagine what made this simple folk music so special.

But on a second (and third and fourth) listen, I heard a lot of the components that made it quite a beautiful set.

Nataile Mering sings and plays acoustic guitar.  Her voice reminds me a lot of Aimee Mann.

The blurb says that this set is

simple and restrained — a strummed guitar, two-part harmonies, a brushed beat — but still managed to re-create the majesty and wonder of the band’s latest release, Titanic Rising, one of 2019’s loftiest and most layered albums.

The music here is simple and straightforward–“rooted in ’70s folk-pop traditions, with mystical themes of rambling on to find meaning and purpose.”

“Andromeda,” an astral ode to love, set the tone with the acoustic guitar.  After a minute and a half there is a really cool otherworldly-sounding guitar solo from Stephen Heath.  It is just a slide on an electric guitar but it sounds very cool amid the folky quiet.  There is a very traditional organ sound from Walt McClements  filling in the spaces, but I think what really makes the song transcend folk are the fantastic backing vocals from bassist Eliana Athayde.  Whether it’s oohs and ahhs or harmonies, her contributions are monumental.

“Wild Time” is next and Athayde’s oohs are there supporting Mering’s gentle leads.  Like the previous song the acoustic guitar sets the pace with the keys filling in the gas and Andres Renteria’s drums keeping pace.  This time the standout sound from Heath’s guitar is a buzzing e-bow–an otherworldly insect buzzing around the song.  Near the end, Heath turns that buzz into a proper guitar solo and there’s a brief moment where I think Althayde and Mering are singing different lines at the same time.  The end of the song rings of early Pink Floyd with the piano sound and Heaths now noisy scratchy e-bow filed soloing.

The final song, “Picture Me Better,” is “a heartbreaking remembrance of a friend who died by suicide while Mering was working on the album.”  It’s the quietest song of the bunch.  Renteria leaves and it’s just acoustic guitar and keys with gentle electric guitar notes and Mering’s voice.  This time Athayde’s backing vocals add an otherworldly quality as we get lost in this song of loss and yearning.

It’s quite a lovely set, and if this is stripped down, I do wonder what a full-on, layered album must sound like.

[READ: December 16, 2019] “Sevastopol”

This was a story about writing stories.

The narrator, Nadia, receives a postcard from Klaus.  The postcard is of Sevastopol, although Klaus has never been there–he probably got it from a site like easterneuropeanjunk.com.

Klaus had rented a theater space in São Paulo (the story was written in Portuguese and translated by Zoë Perry) and called Nadia to insist that she come and help him fix it up.

They had met at the museum where she works.  He led a drama workshop and since staff could take classes for free she decided to check it out.  Klaus had directed a play which ran in a local theater.  Nadia hadn’t seen it, but her friend said it was awful.  Nevertheless, Nadia liked Klaus. (more…)

Read Full Post »

[ATTENDED: December 12, 2019] Strand of Oaks

In 2016, Timothy Showalter played his second Strand of Oaks Winter Classic at Boot and Saddle.  I got a ticket for the third night, not really knowing what to expect.

It turned out to be a fantastic night of music and togetherness.

I missed the next year but went last year to Winter Classic IV.  Which was also great.

There was no way I was going miss Winter Classic V.  This year I went for the first night of the three.

The other two shows had opening acts announced, but there was none announced for my night.

I didn’t think we’d get an extra long show (Tim doesn’t do extra long shows).  Instead we got a cool improv by his partner for the night, Mike “Slo-Mo” Brenner. (more…)

Read Full Post »

[ATTENDED: September 20, 2019] Vida Blue

I had seen two of the Phish guys’ side (or solo) projects, which meant I actually got to see them, and not just see them from a mile away.  Mike Gordon did a solo tour which I caught, and I’ve seen Trey Anastasio with his band and solo.  I assumed that would be it for small projects.  Fish has a band, Pork Tornado, but it’s been on hiatus since 2002 and Page McConnell has released a couple of solo albums, but his band Vida Blue stopped touring in 2004.

Until now.

Page announced that Vida Blue was going to reunite for THREE shows (although possibly more now).  And one of those three shows was in Philadelphia.  So of course I bought a ticket to see Page up close.

Driving into Philly has become something of a nightmare now that Girard Avenue is closed.  Especially if you want to get to the Fillmore.  Traffic and detours add at least ten minutes.  I had left early but still managed to get to the parking lot after 8 for an 8PM show with no opening band.  I was furious.  So I ran into the place and found out that they hadn’t started yet, phew.  Also, everyone seemed to be milling about, so I wended my way up near the front and got an amazing spot.  My only regret is that I didn’t keep going into that one last free spot in front of that one because it turned out the people around me were the worst people in Philadelphia. (more…)

Read Full Post »

SOUNDTRACK: AMERICAN FOOTBALL-Tiny Desk Concert #865 (July 8, 2019).

It’s common, at least for me, to dislike a band because of their name.  Sometimes I get over it and sometimes I have no reason to get over it.

I thought the name American Football was really dumb, so I never listened to the band (because I don’t like football).  I also didn’t know they’d broken up or that they’d reunited.

But here they are with a Tiny Desk Concert.

Twenty years after a self-titled debut that featured one heartbroken mixtape-worthy song after another, American Football is writing some of the best music of its career right now. Once an emo trio from Central Illinois, American Football brought its expanded band to the Tiny Desk, including a vibraphonist, backing singer and, yes, six children from a D.C. choir.

They play three songs from LP3, as it’s colloquially known, (they have put out 2 self-titled records in the last three years).  For an indie rock band, they get a really long Tiny Desk, as well.  None of this under ten minute stuff for American Football, this set stretches to 18 minutes because each song runs about 6 minutes.

The first third of which is taken up with the first song “Every Wave To Ever Rise.”  It’s a slow, expansive song with singer Matt Kinsella singing gently.  But to me the most exciting thing about the song is Cory Bracken on vibraphone.  He makes some awesome echoing vibes sounds that sound otherworldly.  And at three minutes, he takes out a violin bow and bows ones of the keys.  So cool.

I really enjoy the music of the songs.  The guitar melody that Kinsella plays around two minutes is fantastic, but I find the song a little dull.  There’s a really nice guitar solo at the end while Steve Holmes plays a pretty picked melody.

Maybe I’d just prefer this song as an instrumental.

The blurb says that “these spacious songs act as revelatory meditations on what it means to grow older in love and relationships, with lovers and family.”  I wonder if that means they sound different on record–faster maybe?

“Uncomfortably Numb” references Pink Floyd not only in the title, but also in the way the chorus also includes an “ahhhhh” before the line “I have become uncomfortably numb.”  Although the song sounds nothing like the Pink Floyd song.

Indeed, it opens with drummer Steve Lamos playing a slow trumpet piece–for two minutes.  After a short pause the song starts with harmonics from guitarist Steve Holmes.  Pure Bathing Culture’s Sarah Versprille takes a verse on the song (and sing backing vocals on the other songs).

I enjoy the wordplay in this song for sure.

I blamed my father in my youth
Now as a father, I blame the booze

I used to struggle in my youth
Now I’m used to struggling for two

Versprille’s backing vocals add a lot to the song and it’s interesting to have her sing a verse–it changes the dynamic of the song.  (And those vibes are excellent of course).

It’s the final track, “Heir Apparent” that features the children.

For “Heir Apparent,” we reached out to members of the Children’s Chorus of Washington to sing the coda’s quiet mantra. When the 12-to-14-year olds asked frontman Mike Kinsella what the song meant, in order to capture the right emotion, he told them, in so many words, that it was a sad song, but that he’d like them to wear paper crowns while singing it. Just a touch of Kinsella irony, as he grinned ear-to-ear and they sang, “Heir apparent to the throne / The king of all alone.”

The Chorus inlcudes: Mallory Valmon, Amelia Lashway, Jenna Loescher-Clark, Marika Clark, Taylor Bowen-Longino and William Ekrem.

The song opens with some echoing guitars as Kinsella sings.  There’s some gorgeous vibraphone playing and Mike Garzon plays a melodica.  I really like the high bass line from Nate Kinsella. in the middle of the song.  In fact, once again, the music in the song is really terrific.

With about two minutes left, the kids walk out, dressed in red with crowns on.  The sound beautiful and it’s a very nice ending to the song.

The songs remind me a bit of Weakerthans, which means I should like them more than I do.  Maybe I just need to spend more time with them and I can learn to like them despite their name.

[READ: July 2, 2019] “Uncle Jim Called”

A week ago Thursday, Glenn’s Uncle Jim called him.  He sounded familiar but Glenn didn’t recognize him immediately.  When Uncle Jim said who he was, Glenn was confused because “I thought Uncle Jim was dead.”

This whole story is trippy and weird but amazingly, despite its length, it manages to makes this fairly simple premise work.

Uncle Jim was with his brother Hank (also dead).  They were calling Glenn to ask for Glenn’s mother (their sister) Margie.  Margie was also dead, he thought.

Glenn is uncertain about nearly everything.  He shouts “She’d dead!  You’re all dead!”

Their reply: “So?” (more…)

Read Full Post »

[ATTENDED: April 20, 2019] Nick Mason’s Saucerful of Secrets

While I, like many people my age, love Pink Floyd, (I mean Dark Side of the Moon is the most popular album in history or whatever), I have always really enjoyed their early stuff.  Not the Syd Barrett stuff, exactly, but the stuff from that era: Ummagumma, Meddle, Atom Heart Mother.

When I saw that Nick Mason was touring with some non-Pink Floyd guys, I was intrigued.  I’ve always thought that Mason was an underrated dude (when the rest of the band has huge personalities it’s easy to get overlooked).  He also seems like just a nice fella.

Then I read that this tour, dubbed Nick Mason’s Saucerful of Secrets, would focus on the pre-Dark Side of the Moon era of psychedelia and experimentation. Mason says he wished to revisit songs that were staples of early Pink Floyd shows from 1969–1972, as well as other songs that were never performed live by Pink Floyd during this era. Mason said the group was not a tribute band, but that they wanted to “capture the spirit” of the era.  And they were going to play some of “Atom Heart Mother,” my personal favorite.

The band would consist of Dom Beken on keys, Lee Harris and Gary Kemp on guitars and vocals, and long time Pink Floyd collaborator Guy Pratt (man, he has played with EVERYBODY) on bass and vocals. (more…)

Read Full Post »

SOUNDTRACK: THEODORE-Tiny Desk Concert #842 (April 17, 2019).

I recall NPR’s SXSW coverage last year in which they raved about Theodore (and then ran into him walking the street while they were recording their nightly dispatch) and his beguiling music.

Theodore is a Greek composer/performer who is fairly difficult to search for online.  I was really surprised but quite intrigued to see that he now had a Tiny Desk Concert.  And what a Concert!

He plays three songs that last nearly 19 minutes and they are full of twists and turns with great instrumental passages and incredible sounds from all of the instruments.  Whether it is thanks to Theodore’s own set up or the Tiny Desk crew, the sound quality is amazing.

He began with “Disorientation” which

explores the complete loss of inner direction as Theodore examines his inner dualities in search of clarity and, perhaps, new ways to look at the world.

“Disorientation” begins with a terrific throbbing bass from Nikolas Papachronopoulos and occasional guitar notes from Emmanouil Kourkoulis or Ioannis Lefas (not sure who is who).  Theodore starts singing in his husky voice.  After a verse he adds some keys and then just as suddenly the whole band kicks in–drums and soaring guitars which all drop away just as suddenly.

A minor shift occurs at around 1:20 and then at 1:45 the whole song slows down into gentle washes and piano trills with (again) some gorgeous bass notes (the bass sound is phenomenal).  The song feels like it’s going to end but it sound jumps back with the dramatic entry of a pick slid along guitar strings and then back it’s to the delicate moments.  Bob Boilen says the songs have the “spare elegance you can hear in Sigur Rós or Pink Floyd,” and you can clearly hear echoes of mid 70s Pink Floyd with splashes of Sigur Rós for drama.  At 3:45 it jumps again, with some great drumming and more cool basswork.  Then at 4:46 Theodore starts “oohing” in the microphone, his voice is processed and echoing and the whole thing feels like it is drifting off into space

It is spectacular.

“For a While” starts quietly with two notes repeated quietly on the guitar  Theodore adds piano as washes of guitar follow shortly.  The guitar and piano resolve into intertwining pretty melodies.  After the bass and drums come in Theodore starts singing.  He has a very European kind of croon, a bit like latter Morrissey or Guy Garvey from Elbow.  The song builds to a cool moody and then settles down delicately to washes of guitar and single piano notes.

“Naive” ends the set with another great bass sound and intense guitars .  Theodore sings while Ashley Hallinan adds some nifty rim hitting on the snare.  Midway through the song some instrument gets all kinds of processed adding a kind of fat synth sound as the rest of the band builds the song.   Great guitar effects from both guitarists flesh out the moody wild middle section.

This Concert was spectacular and I would love to see him in person.  He only comes to the US for SXSW, so maybe this Tiny Desk will bring him to a wider audience.

[READ: April 15, 2019] “Lobster Night”

Russell Banks is the kind of author I have known about for a long time and am incredibly familiar with the covers of many of his books and whom I’ve considered reading again and again and yet I never seem to.

He is also one of the reasons why I chose to read Esquire fiction in general.  There are many excellent writers who write for Esquire and not all of them write stories about men killing other men.

Well, maybe all the stories don’t have someone or something killed, but this one does.

Stacy is a former potential Olympian.  She used to ski until a bad fall left her with a broken thigh bone.  She can still ski but she has lost her edge so she teaches in the winter.  But during the warmer months she has to waitress or bartend.  She has recently gotten a job at Noonan’s Family Restaurant. (more…)

Read Full Post »

Older Posts »