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Archive for the ‘NPR/PRI/PBS’ Category

Keith Ridgway–Never Love a Gambler (2001) [New Directions Pearl, 2014]

Posted in DakhaBrakha, Death, Irish Writer, New Directions Pearls, Noir, Short Books, Short Story, Small Books, Tiny Desk Concert, Yuck! on May 19, 2015| Leave a Comment »

gambler SOUNDTRACK: DakhaBrakha-Tiny Desk Concert #435 (April 25, 2015).

dkahDakhaBrakha are a band from Kiev, Ukraine.  There are four members, one man (unsure how he is dressed because he plays the accordion which covers his body) and three women.  The women are dressed in fetching white gowns (with lovely detail work done on them) and gigantic woolen “farmer’s hats.”

The women play drums, (with what looks like a wooden spoon), bongos a horn instruments that sounds a bit like a kazoo (I wish NPR gave more details here) and a cello.  They also provide most of the singing.

The first song, “Sho Z-Pod Duba”features bowed cello.  It opens with the male yelling quite loud and some wild yipping and shrieking from the women by the song’s end.

The second song, “Torokh” features lead vocals by the middle woman (the one with the kazoo).  But it also features interesting backing sounds and hums from the other two women.  The cellist (who is plucking the strings like an upright bass) also sings a partial lead vocal.  When the kazoo (which isn’t a kazoo at all, and is more like a penny whistle with some kind of vibrating piece on it) kicks in, the song goes utterly bonkers for a few measures.  The male singer starts yelling and the song is just insane until it stops and slowly builds again.

The end of “Torokh” and a lot of “Divka-Marusechka” has the women singing in the style of Le Mystère des Voix Bulgares (Bulgarian folk harmonies).  This song is the most unsettling of the three because the accordion and cello play an incessant drone that is a two note lurch.  The male sings lead while the females sing harmony and dissonant harmonies as well as a bird call kind of sound.  The end has one of the women signing an almost hip hop style while the other sings a higher, faster lyrics (all of which is in Ukrainian, so I have no idea what they are saying).

It is a strangely familiar music and yet it is also disconcerting.  I listened to it three times and I loved blasting it in my car–t woks great at loud volumes.  I also want to get one of those hats.

Check it out here.

[READ: March 28, 2015] Never Love a Gambler

This is a collection of three short stories from Irish writer Keith Ridgway.  They are quite dark and explore the criminal underbelly.

“Never Love a Gambler”
In this story we meet a family, the father of which is a gambler.  We meet his son and wife as they talk tough to the loan shark’s thug.  The son is pretty tough, standing up to Mossie, who gets the whole bar quiet when he walks in.  Mossie explains that he has been round to their house and they have some lovely things, but he can’t find the gambler himself.  They tell him that they don’t know where he is and then set out to try to find him.  In the meantime, they find a filthy homeless dog and a boy who is waiting to be picked up by his dad.  And they go on a quest together.  The stories converge in a dark but funny (but actually very dark) way. (more…)

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Jess Walter–“To the Corner” (Harper’s, July 2014)

Posted in Adele, Fears, Guns, Harper's, Jess Walter, Jesse Boykins III, Jessie Ware, Racism, Short Story, Tiny Desk Concert, Tracey Ullman on May 18, 2015| Leave a Comment »

julySOUNDTRACK: JESSIE WARE-Tiny Desk Concert #434 (April 20, 2015).

jessieI don’t know Jessie Ware.  She is one of those singers who has a beautiful singing voice which totally masks the fact that her speaking voice has a hugely pronounced British accent (have you heard Adele speak?).  Ware’s speaking voice sounds a bit like Tracey Ullman, which I find charming.

She sings three songs.  They feature her and an electric guitar (played by Joe Newman) and they are soulful and pretty.  On the first song “Say You Love Me,” she is accompanied by her opening act Jesse Boykins III (meaning that this post features a Jess, a Jessie and a Jesse).

The other two songs are “Wildest Moments” and “Champagne Kisses.”

The blurb says that her shows are usually pretty big nightclub dramatic events (which is hard to imagine given how sweet she is).  I can see her really belting out these songs.  She sounds very good in this subdued setting, although it’s not my kind of music at all.

You can watch Jesse and Jessie here.

[READ: April 13, 2015] “To the Corner”

I didn’t really enjoy the other two items in this month’s Harper’s and I was a little disappointed with the way this story started out.  Interestingly, I checked and I didn’t like the way the last story of Walter’s that I wrote about started either.

This story starts with a bunch of kids–shirtless, pants hanging low, standing on a street corner. They are being tough, watching as the girl from their bus walks by.  And I just thought–yawn.

But after a few paragraphs, the perspective shifts to an old man who is watching the kids.  The man has lived in this house for nigh on fifty years.  He has been through boom and bust and bust and bust.  His siblings have all moved away and their houses are worth a fortune, but he remained, and his neighborhood has gotten worse.  He looks at the boys and their whole attitude offends him.  He, Leonard, worked hard all of his life: Korea, G.I. Bill, Junior College, marriage, kids.  And his kids are successes (even the one who listens to right-wing talk radio).  But look at these layabouts. (more…)

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Diane Cook–“Bounty” (Harper’s, August 2014)

Posted in Diane Cook, Drinking, Edmar Casteneda, End of the World, Harper's, Short Story, The Last Man on Earth, Tiny Desk Concert, Violence on May 17, 2015| Leave a Comment »

augustSOUNDTRACK: EDMAR CASTANEDA-Tiny Desk Concert #46 (February 8, 2010).

edmarOne thing that’s awesome about the Tiny Desk Concerts is that they give me an intimate look at a band I love.  The second awesome thing is when you get to see an artist who is truly amazing, but whom you realistically would never encounter anywhere else.

Edmar Casteneda plays the Colombian harp.  And he plays the harp like no one else I have ever heard.  His genre is Latin jazz He uses the bass strings for rhythm and the high strings like a guitar.  And most interestingly is the way he uses his hands like a percussive addition on the strings.  I’ve never seen anyone else play the harp (usually an ethereal instrument) so aggressively before.  He sounds like several people playing at once.

Between songs he explains traditional Colombian harp playing and improvisation.  He demonstrates the way his version is different from the traditional way of playing.  And then he explains the fretboard on the harp which allows him to create sharps (which is pretty cool).

He only plays two songs, but the set is 15 minutes, so these are long songs.  And they are really gorgeous.  I prefer the first song, “Entre Cuerdas” to the slightly more new agey sounds of “Jesus de Nazareth,” although they are both mesmerizing.  At around 10 minutes, his hands are simply a blur–how does he know what strings he is hitting?

It’s kind of a shame that the dominant camera angle is face on because you really can’t see what he’s doing all that well, and his hands are really marvelous.  But it’s a small quibble with such an enjoyable performance.

Without a doubt check this out.

[READ: April 4, 2015] “Bounty”

This story begins with a flood and a dead body.  And very few other people left alive.

We have been watching The Last Man on Earth on Fox and this idea of the last person on earth is being explored on that show.  Interestingly, in this story, things are different. The owner of the house isn’t the last man on earth.  In fact, while he is safe on his mountain top house (while water levels are rising), people keep coming to his door asking for food or water.  And he is pissed about it.  He slams the door in their faces and yells at them to get lost.

I don’t think I’ve ever read a story about the end times in which someone was so unpleasant.

There’s a house on another hill not far from him.  And that house is absolutely full of refugees.  This is the main character’s neighbor–and they don’t like each other.  This generosity gives the protagonist even more reason not to like his neighbor. (more…)

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Silvina Ocampo–“The Basement” (Harper’s, August 2014)

Posted in Daniel Balderston, Dave Rawlings Machine, Excerpt, Gillian Welch, Harper's, Silvina Ocampo, Tiny Desk Concert, Translation on May 16, 2015| Leave a Comment »

august SOUNDTRACK: DAVE RAWLINGS MACHINE & GILLIAN WELCH-Tiny Desk Concert #45 (February 1, 2010).

daveI had never heard of Dave Rawlings (although I have heard of Gillian Welch). He is evidently a producer and session musician.  And the recording of this Tiny Desk Concert is timed with the release of his first album.

Rawlings and Welch (who sang on a number of tracks on the album) play a mix of country and alt-country/folk.  And while their voices work great together, I think it’s Rawlings’ guitar playing that really sets this Concert apart.

They play four songs, and if the blurb is correct, the first was a warm up that sounded great so they kept it.  That first song is Bill Monroe’s “I’m on My Way Back to the Old Home” a rollicking whirlwind of guitar fun with heavy country flavors.  The second song they play is the lead track on the album.  “Ruby” is a mellow ballad which reminds me of two other songs (see if you think the same).

The third song they introduce as “a depressing song.”  It is minor key and slow.  The melody is surprisingly catchy.  Although when it shifts to Neil Young’s “Cortez the Killer,” it’s not because the songs sound alike but because they have the same spirit.  Rawlings’ voice doesn’t sound like Young’s at all, but he sounds great with this great song (and Welch’s harmonies are perfect).

The final song “Sweet Tooth” is a very country (sill country) song.  What I like about it is that Rawlings puts his capo on the 10th fret!  It’s no a song I’d listen to, but it’s cool to know they can play it.

Check it out here.

[READ: April 4, 2015] “The Basement”

Ocampo was an Argentinian poet and short story writer.  This is a short story from Ocampo’s Thus Were Their Faces. which was translated by Daniel Balderston.

I didn’t really get this story.  It is essentially about a woman living in a basement apartment.  She says it is very cold in winter but an Eden in the hot summer months. She has very few things with her and no electricity or running water, but she is very clean.  And she doesn’t have to pay rent.  The lady upstairs feeds her (and she has candy, as well).

This entire excerpt is one very long paragraph and as the paragraph moves along she beings talking about the mice who share her place with her (they are preferable to the flies that are so prevalent in Buenos Aires). (more…)

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Benjamin Kunkel–“As Flies to Wanton Boys” (Harper’s, July 2014)

Posted in Benjamin Kunkel, Excerpt, Harper's, Play (Drama), Rosa Díaz, Tiny Desk Concert on May 15, 2015| Leave a Comment »

julySOUNDTRACK: ROSA DíAZ-Tiny Desk Concert #433 (April 17, 2015).

rossaI find Díaz’ voice a little unsettling. This surprises me because I usually like voices that are unconventional.   But I find her singing to be perhaps too vibrato filled?  Too emphatic maybe? It is especially harsh when set off against the beautiful backing vocal of cellist Daniel de Jesús.

I like the sentiments in Díaz’ songs, like “Beware Of Men Who Don’t Remember Their Dreams” but I don’t like the way she sings it–especially the end.  The second song is sung in Spanish.  “Lloronsito” is a term of endearment usually used for women, but says she dedicates it to the male crybaby.  I prefer this song, perhaps because it feels more natural in Spanish?

“Daddy Said” has a more bouncy melody.  Again there’s some great lyrics, but Díaz really lets loose.  The notes say that she is passionate and that’s clear, although I fear that she kind of goes overboard.  Maybe it would sound better if there were more musicians to really get into it with her?  But it’s not like her voice is bad.  At a few points she and Daniel harmonize beautifully.

I just didn’t love this set.

[READ: April 11, 2015] “As Flies to Wanton Boys”

This is an excerpt from Kunkel’s play Buzz.

In the excerpt there are three characters: a college girl (who is conducting an interview), Tom (the playwright being interviewed) and Tom’s wife who we hear on the answering machine.

The college girl wants Tom to talk about his thoughts about the state of American drama. But she notices that he seems preoccupied.  And he is.  He is very upset about the flies in his house (his wife called the exterminator and she will be mad that there are still so many in the house).  Well, actually she is not legally his wife.

He says he’s not a fascinating subject today.  She keeps trying to drag information out of him.  He wants to know why people will listen to long boring interviews on the radio but not plays. Even the girl says she doesn’t go to plays. (more…)

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Christina Nichol–“Democracy in Batumi” (Harper’s, July 2014)

Posted in Africa, Cat Stevens, Chadwick Stokes, Dispatch, Excerpt, Harper's, Hillary Clinton, State Radio, Tiny Desk Concert, WXPN 88.5 FM--Philadelphia, PA on May 14, 2015| Leave a Comment »

julySOUNDTRACK: CHADWICK STOKES-Tiny Desk Concert #432 (April 13, 2015).

chadI had recently been hearing about Chadwick Stokes on WXPN.  But I didn’t really know anything about him.  I just looked him up and found that he has been making music for almost twenty years, with the bands Dispatch and State Radio (under the name Chad Urmston) and now as a solo artist.  He apparently is a big time activist as well, and his accolades ring high.

The three songs he plays her are wonderful.  He has a great voice that reminds me in some ways of Cat Stevens (even though Stokes is from Boston and certainly rocks harder than the Cat).  Although he even mentions Stevens in the third song.

I love the way the first song, “Pine Needle Tea” starts out slowly (with Stokes on the guitar) and a delicate xylophone playing along.  Then half way through, both accompanists start playing floor toms–one with stuff on it to deaden the sound and one (Will’s) with no deadening to really pound away.

I love the faster parts in the second song “Horse Comanche” and also how in the slower parts both guys sing lovely high harmonies.  It makes me laugh that the fellow who plays the melodica solo stands almost ramrod still while waiting for his time.  (He is actually Stoke’s brother, Will).  I have grown to really enjoy the melodica lately.  I love how the end of the song has the repeated refrain with great harmonies and the melodica all playing together.

Chad jokes after the song that “Comanche” has a dropped D E string and he always forgets to retune it live (and his brother says he forgets to remind him to re tune it) so half way through the next song “it goes Wah.”

The final song is called “I Want You Like a Seatbelt” which gets a laugh.  It is a funny title but it proves to be a great simile.  I love the vocal melody of this song.  And when it really gets going it is infectious.  It’s just way too short.

I need to dig into his back catalog.  And here’s a link to this great Tiny Desk.

[READ: April 10, 2015] “Democracy in Batumi”

Sometimes an excerpt from a novel (Waiting for the Electricity) piques my interest. In this case, however, it really didn’t.

In this excerpt, Slims Achmed Makasvili is from Batumi on the Black Sea.  He is writing to Hillary Clinton (we’re not told why to her specifically).  He says that Batumi is not very well-known.  The local dictator is tearing down old buildings, but Slims wants Clinton to know that Batumi is a natural port for petroleum deliveries.  He says that there are great business opportunities available for America here. Then he asks if she knows the movie Jesus Christ Superstar.

The next letter (they are undated so it is unclear how far apart they were written) talks about how Clinton’s version of democracy and his are quite different.  The Batumi Center for Democracy has expanded and even has an air conditioning unit. (more…)

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Raina Telgemeier–Sisters (2014)

Posted in Biography, Brian Eno, Calvin and Hobbes, Daniel Lanois, Foxtrot, Funny (ha ha), Graphic Novel, Humiliation, Parenting, Raina Telgemeier, Tiny Desk Concert, YA Books on May 13, 2015| Leave a Comment »

sistersSOUNDTRACK: DANIEL LANOIS-Tiny Desk Concert #415 (January 13, 2015).

lanoisI don’t really know very much about Daniel Lanois. I know he’s a great producer.  I know that he’s worked with Brian Eno on an umber of projects. I even know that he has at least one album out of his own.  But other than that he’s an enigma to me.

And he remains so here.

He and his bassist Jim Wilson and drummer Brian Blade, play three instrumentals that are more or less improvised.

Lanois stands with his back to the audience, facing the other two guys. And aside from some closeups of his gear, the only interesting thing visually that happens is that the drummer knocks over an LP during a song and picks it up.

Lanois’ gear is totally perplexing to me—there’s knobs and buttons but no keyboards, so I don’t know where the sounds are coming from.  The bassist keeps a steady rhythm while Lanois turns and spins and slides things. Musically it’s not all that interesting—it’s sort of mellow background electronica.

The best part of the whole deal is the drummer. He plays some amazing fills and runs on that snare and hi hat.  It’s amazing the complexity he is able to achieve with just a bass, snare and hi hat. He also smiles a lot which is nice to see from these rather dour men.

Lanois doesn’t say a thing during the set, not even when it’s over.  You can see it here.

[READ: February 10, 2015] Sisters

I really enjoyed Smile, although I found out about Smile when Sisters came out.  So this is a sequel to Smile (although Raina still has her braces on during the book, so I guess it’s more of a concurrent story).

As the story opens, Raina (age 14) and her family (her mom and dad. her baby brother (6) and, grr, her sister (age 9)) are visiting relatives in Colorado.  Their dad has some work to attend to so he will be flying in a few days later, but everyone else is going to hop in the van and drive from Colorado to California and then back–so that’s basically two weeks in the car and one week in California.  Ugh.

The only saving grace is that their van has three rows of seats so each girl has a seat to herself while their brother rides shotgun.

Before they head out, we see that Raina and her sister Amara are on each other’s nerves constantly–with Raina ultimately shouting “Why did I ever ask for a sister?!”  Then we see flashback of Raina as a young girl desperately wanting a sister to play with.  And when Amara finally came–Raina was in love–until she realized that the baby would be sharing room with her.  There’s a joke about Amara meaning “immortal” in Sanskrit and “love” in Latin and her father muttering “it also means bitter one.”  And it turns out that Amara is a pretty cranky kid–especially where Raina is concerned. (more…)

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Rivka Galchen–“The Monkey Did It: The facts in the case of Haruki Murakami” (Harper’s, October 2014)

Posted in Book Reviews, Brooklyn Rider, Claude Debussy, Harper's, Haruki Murakami, Johannes Brahms, Rivka Galchen, Tiny Desk Concert on May 10, 2015| Leave a Comment »

harperioctSOUNDTRACK: BROOKLYN RIDER-Tiny Desk Concert #44 (January 26, 2010).

brooklynThis is one of the darkest Tiny Desk Concerts I’ve seen.  Meaning it is rather poorly lit.  I’m not sure why it is so dark in the office–oh, I see that it’s 4;30 PM.  But this string quarter isn’t hindered by it (although they do remark on it before the final song).

The notes state that the quartet (two violin, a viola and cello) loves Debussy and Brahms but they also write their own music and have teamed up with a Kurdish kamancheh player (or as the one player states, a Japanese shakuhachi player and an electronics musician).

The first song, “Vagharshabadi Dance” is an Armenian dance written by an Orthodox priest named Komitas. And they are quite animated as they play it.

In the introduction to the second piece called “Second Bounce” (which is a companion to a Debussy piece, which they play next). Colin Jacobsen (violin) says that he based it on the way a super ball’s first bounce is expected but the second can go anywhere.  And the notes they play are often unexpected (and bouncy).  They’re also quite hard (the viola player (Nicholas Cords) says the piece hurts his hand).  That piece is only a trio–they wanted to mix it up a bit.

The Debussy piece “String Quartet in G Minor: 2nd Movement” is very nice.  It’s got a lot of pizzicato (from all the instruments) while the others play a cool riff.  Johnny Gandelsman (violin) sat out of “Second Bounce” but he gets some great “solos” in this one.  I don’t know all that much by Debussy, but I like this.

“Ascending Bird” is sort of their theme song–an arrangement of a Persian folk song.  It has some incredibly fast riffs (even from the cello (Eric Jacobsen)) and some interesting scratching on the strings.

Check them out here.

[READ: March 6, 2015] “The Monkey Did It”

I had just read a short story by Murakami, so I was interested to read this piece by Galchen, whose insights are, I think, spot on.

toricelliShe talks about Murakami’s latest book, Colorless Tsukuru Tazaki and His Years of Pilgrimage and she uses the simile  that Murakami’s works are like Torricelli’s Trumpet or Gabriel’s Horn–finite space with infinite surface area.  And while I wouldn’t say that I thought of that myself, I would say that I have often thought that his stories seem so simple (at least in plot) but there is so much more in them.

I like the way that she talks about his books as having a plot that sums up pretty easily, but within the plot several other new threads are opened.  And they are more metaphysical at the same time.

In the novel friends vanish, but that is not the main plot.  Rather, Tazaki is haunted by the fact that his friends abandoned him some time ago.  His girlfriend Sara tells him he needs to figure this out.  So he sets off on a kind of quest.  Galchen notes that the girlfriends in his stories are always encouraging the main characters to do these quests. (more…)

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Haruki Murakami–“Kino” (New Yorker, February 23 & March 2, 2015)

Posted in Haruki Murakami, New Yorker, Philip Gabriel, Short Story, Supernatural, Ted Goossen, The Low Anthem, Tiny Desk Concert, Translation, Vic Chesnutt on May 9, 2015| Leave a Comment »

2015_02_23SOUNDTRACK: THE LOW ANTHEM-Tiny Desk Concert #43 (January 20, 2010).

lowanthemThe Low Anthem grow more charming as the Tiny Desk goes on.  The first cool thing is the story that accompanies them. They played at the Newport Folk Festival and when Bob talked to the organizer about them, the organizer said that “Last year, they were volunteers at the festival, picking up trash.”

Then things get more interesting as each of the three songs introduces new instrumentation and ways of making music.  They brought a lot of gear to this Tiny Desk.

The first song, “Ghost Woman Blues” opens with strummed acoustic guitar and upright bass.  The first surprise comes with the clarinet solo (by harmony vocalist Jocie Adams).  Lead singer Ben Knox Miller has a voice not unlike Vic Chesnutt’s and these songs follow along his rather simple and spare style.

The biggest surprises come in the second song, “This God Damn House.”  Miller starts the song by playing a small bras horn (not sure what it is).  Adams plays more clarinet (in a very cool echoing style) and upright bassist Mat Davidson switches to an old-sounding organ.  But the coolest thing is when Miller takes out his cell phone (what!).  He has dialed another phone in the room which he then answers.  With both phones flipped open (it is 2010 after all), he begins whistling into them, playing with the feedback and echoes and creating a very cool sound to end the song.

It’s a shame there’s a cut to the next song, because I’m sure Bob asked him about that.  For the final song, “To the Ghosts Who Write History Books,” Miller switches to the organ (and harmonica, man that guy is talented). Davidson is back on bass and Adams plays a bunch of cymbals with a violin bow (I wish that was a little louder).

I generally don’t like super mellow music like this, but there’s something really captivating about The Low Anthem–the instrumentation, the voices–something, really elevates them.

There is a drum kit set up although no one uses it.  I can’t imagine it would have made a lot of difference.  Check them out here.

[READ: April 11, 2015] “Kino”

This longer story was a typically enigmatic one from Murakami.  In it, he does a great job of melding the real with the psychological, so that things that seem very surface level are actually much deeper.

Kino is a pretty simple man.  He was a runner until he pulled his Achilles tendon and could no longer run.  So he started working for a shoe company.  He sold the premium shoes to good runners.  The brand was not super popular, but it had a devoted following.  And Kino made decent money for him and his wife.

He was a salesman and often went on business trips.  As happens, he came home early one day to find his wife in bed with a fellow coworker.  He walked out and never went back. (more…)

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C. Montgomery Burns’ Handbook of World Domination [The Vault of Simpsonology Series] (2014)

Posted in Adam Arcuragi, Batman, Corporate skewering, Graphic Novel, Mad Magazine, The Simpsons, Tiny Desk Concert on May 3, 2015| Leave a Comment »

burnsSOUNDTRACK: ADAM ARCURAGI-Tiny Desk Concert #42 (January 10, 2010).

adamI had never heard of Arcuragi before this show and in the five years since I haven’t heard of him elsewhere.  Bob introduces the show by raving about Adam’s voice.

But I don’t really think there’s anything special about his voice.  It’s a good decent string voice, but nothing notably unique about it or anything.  So it was a bit of a set up for a let down.  Which is  shame because Arcuragi and his mates sing three delightful songs.

“She Comes to Me” features acoustic and electric guitars and mandolin.  “Steal People’s Medicine” uses the electric guitar a a slide guitar, which sounds remarkably different from the first song (no mandolin either).  “Bottom of the River” which switches the mandolin for a tambourine is the most fun of the three songs.  It’s a bit more upbeat, there’s some good harmonies and the crowd even starts clapping along.  And Adam does wail a few notes showing that his voice is better than I suggested.

Watch it here.

[READ: April 7, 2015] Handbook of World Domination

I was unaware of The Vault of Simpsonology Series.  This is the third book in the series, the other two being from Homer and Bart with future books from Lisa, Grandpa and Bartman.  I’m also not exactly sure why our library received this book,   But it’s a fun little addition to all things Simpson.

The book is 64 pages about 6 inches square and it is chock full of insights into Mr Burns.

On the first page is an envelope with a poster.  Given the incompleteness of the back, I assume that all the books have similar posters with which you would make one giant poster.

The introduction (by Mr Burns) explains that he just wants to entertain with this volume–not to give away secrets.   So we get Burns’ bucket list (#29–keep a meal down completely; 17- Buy the EPA and rename it the Environment Profit Administration) and Secrets to Burns’ long life (a bizarre medical contraption involving syringes, a small devil and a drooling baby). (more…)

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