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Archive for the ‘Tiny Desk Concert’ Category

Admiral William H. McRaven–Make Your Bed: Little Things That Can Change Your Life … And Maybe the World (2017)

Posted in Admiral William H. McRaven, Baden Powell de Aquino, Bob's Burgers, Brazil, Bullying, Coronavirus, donald tRUMP, Fabiano Do Nascimento, Iraq, Leo Brouwer, Military, Quarantine, Saddam Hussein, Sharks, Tiny Desk (Home) Concerts, Tiny Desk Concert, War on July 5, 2020| Leave a Comment »

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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Keiichi Arawi [あらゐけいいち]–Nichijou [日常] : My Ordinary Life (1) 2007 (translation 2016)

Posted in Africa, あらゐけいいち, Coronavirus, Graphic Novel, Huh?, Jenny McKeon, Keiichi Arawi, Malawi Mouse Boys, Manga, Quarantine, Robots, Tiny Desk (Home) Concerts, Tiny Desk Concert, Translation on July 4, 2020| Leave a Comment »

25938055SOUNDTRACK: MALAWI MOUSE BOYS-Tiny Desk (Home) Concert #42 (July 1, 2020).

mouseThis Tiny Desk (Home) Concert is from Malawi in Southeastern Africa.  The performer is Nelson Mulligo of the Malawi Mouse Boys.

He only plays one song, but it’s really cool.  Bob Boilen tells us some very important details about the song, the singer and the band.

We see his two-room home in the opening shot where he and his family live without plumbing or electricity. Then we see Nelson, standing below the power lines, holding his homemade guitar singing, “I’m So Tired of You.” It’s a song that sings out the evils of poverty, a life of hard physical work, of making money scavenging for mice amongst boars and snakes so they can sell them as roasted mice shish kabobs along the roadside. We only get one song, and even that cuts off abruptly, but I was deeply moved when producer Ian Brennan (Tinariwen, The Good Ones) sent it my way. He and his wife Marilena Umuhoza Delli met and recorded the Malawi Mouse Boys in 2011. You can hear Ian Brennan tell his story on NPR’s Weekend Edition. If you fall in love with what you hear, give a listen to the entire band harmonize. You can find their music on Bandcamp here. Even though the group played Peter Gabriel’s WOMAD festival in 2015, they still live in poverty. Support what you love.

The song is simple and very catchy with Mulligo’s voice sounding strong and really lovely and his homemade guitar sounding great.

[READ: July 2, 2020] Nichijou 1

This book was recommended to me based on some other manga that I had read.  I didn’t know Keiichi Arawi [あらゐけいいち] or anything about Nichijou, but the cover picture of a classroom full of kids with a deer on one of the desks looked promisingly funny.  As did the comments about the series being delightfully surreal.

It is very surreal.  So much so that I finished the book with a massive question mark hanging over my head.  I literally had no idea what was going on.

When I looked up some information about the series (there are dozens of books and a TV show), I learned some details about what I was reading.  When I re-read it, it made a lot more sense, but was still really bizarre and not easy to follow. (more…)

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Lily E. Hirsh–Weird Al: Seriously (2020)

Posted in "Weird Al" Yankovic, Allan Sherman, Billy Joel, Christmas, Coolio, Coreyah, Coronavirus, Crossword Puzzles, Cyndi Lauper, Dr. Demento, Feminism, John Oliver, Korea, Lily E. Hirsh, Mad Magazine, Nathan Rabin, Quarantine, Racism, Rick Derringer, Roland Barthes, Scholarship, South Korea, Spike Jones, Stan Freberg, The Arrows, The New York Times, The Three Chuckles, Tiny Desk (Home) Concerts, Tiny Desk Concert, Tom Lehrer on July 3, 2020| Leave a Comment »

50093048._SX318_SY475_SOUNDTRACK: COREYAH-Tiny Desk (Home) Concert #41 (June 30, 2020).

Watching Korean bands mix traditional and modern instruments is really cool.  Korean traditional instruments (like the geomungo) are really quite unlike anything the West has produced so I love seeing them in action.  But merging them with electric guitar (and plastic hand clappers) makes for such an interesting juxtaposition.

This week we’ll publish four Tiny Desk (home) concerts from around the world. We begin in South Korea.  Today [is] the music of Coreyah. According to the band, the name represents “inheritance,” and that’s evident in the way this six-piece presents old or traditional Korean music with a modern twist.

If you’re going to mix up such disparate elements you can pretty much do anything.

It’s an uninhibited vision of Korean traditional music with some psychedelic rock, Balkan gypsy, even sounds from South America and Africa. You’ll see and hear instruments including the daegeum, a large bamboo flute and geomungo, a large Korean zither that lays on the floor.

When translated into Hangul, the Korean alphabet, Coreyah means “whale,” which is the group’s good luck charm. The music was recorded in the band’s music studio in Seoul, with COVID-19 shutting down most of the country. Strict social distancing is still ongoing in South Korea, though they are streaming their concerts to fans.

And just a note from the band: The geomungo player in this video is Park Dawool, as Coreyah member Na Sunjin was forced to miss this recording due to a personal emergency.

“Till the Dawn” features some great flute playing from Kim Dong Kun on the tungso.  There’s a heavy riff on the geomungo from Park Dawool while Kim Cho Rong plays the double headed drums.   Kyungyi  play a more stanadrd-looking drumkitm but it is hardly typical.  I really like the instrumental break that is just flute and geomungo.

For “Yellow Flower” Ko Jaehyeon plays jagged guitar chords accented with flute.  This song is quieter and singer Ham Boyoung has some kind of device that she is holding, but I can’t tell its purpose.

For the final song, “Good Dreams” percussionist Kim Cho Rong moves to the front to play the chulhyungeum which turns out to be like a slide guitar geomungo.

I could watch them play all day.

[READ: July 2, 2020] Weird Al: Seriously

I had been seeing ads for this book in my Instagram feed for months.  So I decided to finally check it out.

Back in the day, I used to really enjoy reading academic books about non-academic subjects.  There was a whole series of “The Philosophy of” various pop culture things that was fun.  It often seems like these books overthink their subjects. Not that the subjects aren’t doing the things that the authors suggest, but I do have to wonder if the authors see a lot more than the subjects do.

That certainly feels true here.  I’m not saying that Al doesn’t think about race or gender when he writes songs, just that he probably thinks “this will be funny” a lot more. (more…)

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Stan Tekiela–Bird Trivia: Funny, Strange and Incredible Facts About North American Birds (2018)

Posted in BEAM, Coronavirus, Elf Owl, Hummingbirds, Killdeer, Neil Peart, Quarantine, Ruffed Grouse, Stan Tekiela, Tiny Desk (Home) Concerts, Tiny Desk Concert, Woodpeckers on July 2, 2020| Leave a Comment »

36963399SOUNDTRACK: BEAM-Tiny Desk (Home) Concert #40 (June 26, 2020).

beamBEAM is a Jamaica-born, Miami-raised reggae artist, whose

father, Papa San, was a dancehall superstar during the late 1980s and early ’90s before becoming a preacher.

BEAM performs four songs, and

the 23-year-old singer and his co-producer and keyboardist, Al Cres, brought a new flair to the Tiny Desk (home) concert series with some unorthodox visual effects.

A guy rapping quickly with a pretty heavy Jamaican accent is pretty hard for me to understand, so I tend to hear phrases like “makes sure you know how to [garbled]” and I think he’s saying NPR a lot.

“SOLDIER” starts the set.

“MAD GAAL,” featured on his 2019 major-label debut, 95, is sure to keep living room dancefloors bumping during the pandemic.

“STRANDED” is a slower, ballad-style song with gentle keys from Al Cres.

He concluded the set with an exclusive: “KUMBAYA”, a fitting song for this moment in history.

It is nice that he included a green screen for visuals.

[READ: July 1, 2020] Bird Trivia

I was looking up books about birds and this book popped up. It seemed like a fun book to check out.  The original subtitle (the one still visible on Goodreads) is “Amazing Facts to Wow Any Bird-Lover.”  This original subtitle REALLY overstates the quality of this book.  The final subtitle is a bit more realistic.

Because this book is okay.  It’s quite short and feels a lot like the forty some pages of  information that Tekiela finds interesting.  It feels like a very personal book (which is good and bad).

I don’t really know what one might expect from a book of bird trivia.  Most bird lovers know a lot of trivia already about their birds (really, isn’t any information about birds trivia?). (more…)

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Scholastique Mukasonga–“Grief” (New Yorker, June 22, 2020)

Posted in Africa, Coronavirus, Death, Genocide, M. Ward, Murder, New Yorker, Priests, Quarantine, Racism, Religion, Sandro Perri, Scholastique Mukasonga, Short Story, Tiny Desk (Home) Concerts, Tiny Desk Concert on July 1, 2020| Leave a Comment »

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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Franz Kafka–“The Rescue Will Begin In Its Own Time” (New Yorker, June 29, 2020)

Posted in Coronavirus, Domestic Violence, Drinking, Franz Kafka, Huh?, Michael Hofmann, New Yorker, NPR/PRI/PBS, Parenting, Philosophy, Prometheus, Quarantine, Short Story, Tiny Desk (Home) Concerts, Tiny Desk Concert, Translation, Violence on June 30, 2020| Leave a Comment »

SOUNDTRACK: MADAME GANDHI-Tiny Desk (Home) Concert #38 (June 24, 2020).

I have never heard of Madame Gandhi.  That’s a constant theme with these Home Tiny Desks–they seem even more geared toward introducing lesser known artists to the world.

Madame Gandhi’s is surrounded by her yellow bongos and congas, a yellow desk from her youth and a yellow nightstand, her Tiny Desk (home) concert lighting nods to the lavender-lemon artwork of her 2019 Visions EP.

Her music is mostly prerecorded.  The live elements are her vocals (soft and gentle with a lot of nonsense syllables amid the good vibe lyrics) and her wonderful hand drums.

Her music is inspired by her South Indian heritage and she lights a stick of palo santo.

For the first two songs she plays the damaru (I think).  “Waiting For Me” is about returning to the earth–returning to nature.  I enjoyed the way it began:

Wake up in the morning / hit space bar and start recording

She plays cool-sounding drums–she has wonderfully diverse sounds from that tiny hand drum.  And they seem to be modified in some way, too.

Before “Moon in the Sky,” she says “I don’t want our identities defined according to how oppressed we are.”

She’s intentional with everything she does, including activism that focuses primarily on gender liberation. She uses music to help elevate and celebrate female voices, from working with primarily queer women BIPOC on tour and video sets, to writing socially-conscious lyrics that challenge the white male-dominated music industry.

She continues, “if we are not brave enough to tell our stories end to end, somebody else will.  And they will get it wrong.

on tour and video sets, to writing socially-conscious lyrics that challenge the white male-dominated music industry.. Madame Gandhi’s clear, soft voice and swells of percussion give you the necessary space to meditate on her message of inclusion and equality.

She says her music is Indian trap.  The music has fun beats and a downplayed vocal delivery. I rather like it.

For the final song, “Bad Habits,” she stands up and plays the bongos: “put your phone down and stand with me.”  The catchy chorus of the song is “all my bad habits have got to got to go.”

Her parting words are that each person’s contribution is unique and valuable and can be of service to my community and my family.

This has been a great introduction to a new form of music for me.

[READ: June 28, 2020] “The Rescue Will Begin In Its Own Time”

I really don’t understand what was going on with these previously unpublished stories by Kafka (translated by Michael Hofmann). There are four flash fiction pieces and they seem much more like story ideas than stories.

In the first section he talks about the four ways the Prometheus legend can be viewed.  After the fourth, it ends, “The real riddle was the mountains.”

In the second part, there is a large load of bread which the Father of the family cannot cut.  The Father is not surprised, “Isn’t it more surprising if something succeeds than if it fails?”  When the children woke the next morning he had been up all night but had not managed to cut it. (more…)

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Kayla Czaga–“The Peace Lily” (The Walrus, July/August 2020)

Posted in Canadian Content, Flowers, Kayla Czaga, Memoirs, Peace Lily, Poetry, Poets, Sudan Archives, The Walrus, Tiny Desk Concert, WXPN 88.5 FM--Philadelphia, PA on June 28, 2020| Leave a Comment »

julyaugust200SOUNDTRACK: SUDAN ARCHIVES-Tiny Desk Concert #979 (June 22, 2020).

sudanSudan Archives at Johnny Brenda’s was a show I had really wanted to see.  When I realized she was playing there the show was already sold out.  Then Coronavirus came in and shows were starting to get cancelled.

A friend of mine went to this show (she had gotten tickets early) and said that so few people had actually shown up that they were letting people in.  I was torn about going but I had been out of work for the whole week already and it didn’t seem safe.

It was the last show I could have gone to for a long time.  It was also the last Tiny Desk Concert for the foreseeable future.

By the time Sudan Archives arrived at NPR in Washington, D.C., on March 11, everyone was concerned about the coronavirus threat. So we sanitized the desk, the mics and the cameras. We also kept our distance.

When the show was over and the small, socially-distant crowd of NPR employees dispersed, our crew began to wipe everything down with disinfectant wipes. Our incredible audio engineer, Josh Rogosin, started to set up for what we thought would be the next Tiny Desk show, the Pulitzer Prize-winning opera p r i s m by Ellen Reid and Roxie Perkins.

Josh Rogosin remembers the day clearly. “After the Sudan Archives concert, I optimistically went about setting up for a string quartet plus an eight-person choir and two vocal soloists, plus harp and conductor,” he told me. “About halfway through my set-up, our boss gathered us around the Tiny Desk and made the painful but obvious decision. No more Tiny Desks until further notice.”

It’s a shame that that is such an unforgettable part of this show because the 13 minutes of Sudan Archives are wonderful.

Normally–at least at Johnny Brenda’s, she played solo with looping pedals and acoustic and electric violins.  But for the Tiny Desk

She came not with an array of electronics, but with violinist Jessica McJunkins, violist Dominic Johnson and cellist Khari Joyner. The new arrangement at the top of “Confessions” was the perfect tension queller.  And those arrangements also heighten the lyrics. Listening again three months later, three weeks into police brutality protests, the words — “There is a place that I call home / But it’s not where I am welcome / And if I saw all the angels / Why is my presence so painful?” — take on new meaning.

“Confessions” is the song that’s all over WXPN.  This version opens with opens with a lovely string section arrangement–evidently new for this show.  Then as the cello plays the deep part (I love that a cello can keep rhythm this way) the other three play the familiar super catchy sliding melody.  Her voice sounds very clean and she is clearly smiling throughout (you can hear it in her voice).

“Glorious” is clearly inspired by traditional Irish music, but a bit more slinky.  The melody and rhythm that she plays in the lead sounds so trad and yet she sings with a very not-Irish style of singing.  It’s a great juxtaposition.  It’s fun to watch her groove as she plays it’s very danceable–especially for a string quartet.  And her soloing is pretty great with some really fast hammer-on soloing.

She says that this is the first time she is playing with the trio.

The last song is “Not For Sale” which she says is one of her favorite songs.  I love that as she’s getting the trio ready she does a kind of mindless guitar solo noodle–a fast solo including bending a bent string.  The song starts all pizzicato and she kind of raps part of the lyrics–another great juxtaposition of musical styles.

I’ll bet she was great live.  I hope she comes back around before too long.

[READ: June 23, 2020] “The Peace Lily”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The last piece is a poem. It is about a peace lily.

She bought it at Thrifty Foods for $4.99.

She was inspired by its poker-green leaves and flowers which looked like studded Jacobsen Egg Chairs.

She brought it home and put it on a sunny bookshelf.

Within a week, its leaves
had black spots.  A second
week saw its flowers gone.

She got advice from her mother and the internet.  She took the advice and it gave her one flower

which drooped before
ever really blooming

If anyone has ever failed to keep a flower, this sentiment is right on:

To say the peace lily died
would be an understatement.
like a famous connoisseur
of death, it took its time:
every last leaf withered
into a black ash that stuck
on the shelf

It was all the more frustrating because the more she did to see it thrive

the less interested
it seemed in living

Until finally, you reach the point where you’re happy it’s out of your life

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Kevin Chong–“Lottery Poetry” (The Walrus, July/August 2020)

Posted in Canadian Content, Coronavirus, Death, Fortune Telling, Hamilton Leithauser, Kevin Chong, Lottery, Parenting, Poetry, Quarantine, Racism, Short Story, The Walrus, Tiny Desk (Home) Concerts, Tiny Desk Concert on June 27, 2020| Leave a Comment »

julyaugust200SOUNDTRACK: HAMILTON LEITHAUSER-Tiny Desk (Home) Concert #37 (June 21, 2020).

hammyHamilton Leithauser seems to always be on the periphery of my listening experience. I hear his name a lot and hear his songs a bunch, but I’ve never actually looked for him.

And yet, I like him and his music.  And, indeed, as this blurb says,

This is the most adorable thing you may see all day.

Known best as the The Walkmen singer, Hamilton Leithauser is the singer of The Walkmen, although I know him better for his solo work.

Here he plays songs from his 2020 solo album, The Loves of Your Life.

Leithauser’s voice is a solid folk-singer voice and he hits a lot of high notes (with a deliberate straining style).  “In a Black Out” features his father Mark Leithauser on harmonica.  It’s a very touching Father’s Day moment.

But it’s made even more magical when for “The Garbage Men” he calls out his band: his daughters Georgiana and Frederika Leithauser and his nieces May and Lucy McIntosh.  The kids sing backing ahhs (quite well) and they all enjoy singing “till the garbage men go by!”  They also do the quiet “oohs” very nicely as well.  And they dance on haystacks.

“Here They Come” is about a friend who would go to the movies and sneak into film after film to avoid going home.  The kids sing the lyrics (pretty well) and dance even more adorably for this rocking song.  It’s important not to forget his wife, Anna Stumpf on congas and percussion way in the back for the middle three songs.

His daughter makes fun of him introducing the tiny desk “Dad you sound so stupid” and Hamilton laughs at the mocking.  They also show that they have a tinier tiny desk from the Calico Critters.

Then he introduces “The Stars of Tomorrow” by saying he and his girls met a Polish woman on the beach.  The woman told them her life story (they’d hadn’t asked).  It had a lot of drama and a lot of contradictions.  Everything in the story is true from what he can remember she told him, “but I can’t vouch for her story.”

The final song “Isabella” is, to me, the most Leithauser of the five songs.  A real folks song slow and passionate.  The girls do a fantastic job singing the “they all go riding home” responses in the chorus.  I’m very impressed with how well they sing.

There have been a lot of cute and sweet Tiny Desk’s but none have been as adorable.

[READ: June 23, 2020] “Lottery Poetry”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The fifth piece is fiction and it is very timely.

Maisy Wu learned fortune-telling from her mah-mah who’d read faces and palms in a stall in Hong Kong.  Maisy had been doing fortunes at college parties and eventually decided to quit her job at the Vancouver Public Library and go public with her talents.

She read palms and offered her own variation on Kau chim or lottery poetry.

Then the pandemic hit. At first people still came–they wanted her reassurances.  But when she was declared nonessential, she was financially hit hard.

She decided to go mobile with her skills, inspired by take out drivers.  She called it Curbside Divinations.  She received some likes on social media but no calls.  She imagined them saying, “If you’re so good at predicting the future, why did you book a  trip to Mexico in March?”

Then she had a request from a man named Pete.   He was a white man in sweats somewhere between forty-five and sixty-five.

She almost lefty when he asked “If you Chinese were so good at predicting the future, how’d you all get us into this in the first place?”

But as she turned to leave, he said he’d already paid.  And she needed the money.  (more…)

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Eric Ormsby–“Lord Mayor Magpie” (The Walrus, July/August 2020)

Posted in Anna Wintour, Benny the Butcher, Birds, Black Soprano family, Canadian Content, Coronavirus, Eric Ormsby, Griselda, Heemer da Steemer, Karl Lagerfeld, Magpies, Memoirs, Nicki Minaj, Poetry, Poets, Quarantine, Ricky Hyde, The Walrus, Tiny Desk (Home) Concerts, Tiny Desk Concert on June 26, 2020| Leave a Comment »

julyaugust200SOUNDTRACK: BENNY THE BUTCHER-Tiny Desk (Home) Concert #36 (June 19, 2020).

bennyI’d never heard of Benny the Butcher and when I was listening to his boasts, I assumed that maybe he was really old school.  He makes a crack about Nicki Minaj that made me think he was like 50, but in fact she is older than he is (which is pretty funny).

Benny the Butcher is part of “the triple threat emcee collective from Buffalo, N.Y., consisting of Westside Gunn, Conway, and Benny the Butcher” known as Griselda.  They were supposed to do a Tiny Desk until the coronavirus hit.

Benny the Butcher blessed us with a five-song set from the living room of his current home in Atlanta. (Due to some recording snafus, some of the audio and video in this video doesn’t always sync up.)

I really like when they do five or so songs in under fifteen minutes–it’s like a highlight reel.

There’s something really amusing about these guys rapping some hardcore stuff (the n-word is mentioned about fifty times in 13 minutes) while  they are sitting in a suburban-looking house on a gray couch with plants and baby pictures on the table.  But somehow, without all of the posturing and video effects, i gets you to listen to the words more closely.    And I really liked his lyrics.

“Crown for Kings” is like an old school song full of braggadocio and lots of similes (I assumed it was a twenty year old track) at first, until he rapped

I sat back, a vet, and watched beginners winnin’ my belts
Burned my bridges, came back a good swimmer like Phelps

and then this really funny bit about going to Philly, which includes the Nicki Minaj line

What’s the dealy? I’m only ’bout six hours from Philly
That’s an hour on the plane, I’ll make it three in the Bentley
My bitch keep sayin’ I’m famous, but it ain’t hit me
I’m too ghetto, mellowed out, this Hollywood shit tricky
See, before I knew an A&R, I was weighin’ hard
Back when Nicki Minaj was in a trainin’ bra

and

“Rubber Bands & Weight” was a cool song.  Slow and intense with creepy music.  I really appreciated the slow delivery in this song.  Even though I think the challenge is to see how much you can fit into a verse, sometimes slow gets the point across better.  I also liked that this song had a recognizable chorus and the video included jump cuts of him shouting it out.

For the third track, Benny is joined by Rick Hyde and Heem, two artists on his new BSF label imprint, for a live performance of “Da Mob,” the first single off an upcoming label compilation titled Benny The Butcher & DJ Drama Presents: Gangsta Grillz X BSF Da Respected Sopranos.  This track is dark and distorted sounding.  Hyde’s style is gruff (he jump cuts to Benny’s couch). Then Heem comes in for his verse–they don;t cross paths so I assume it’s all socially safe.  Benny returns for the final verse and his is definitely the best voice of the three.

“Cruiser Weight Coke” is a title I don’t get, but I like the sinister sounds on this song–very cool low notes an what sounds like processed vocals. vocals.  This line stuck out to me:

If we link up and make plans (shake hands), it’s a done deal if we shake hands
You won’t understand me ‘less you move your family to a place they feel safe in (alright)

This track is really short (less than 2 minutes) and skips the last verse.

It seems to be saving room for “5 to 50.” “5 to 50” and “Crown” come “from his critically acclaimed 2019 album, The Plugs I Met.”  It continues in this aggressive style.  He seems to pause to really let the final section sink in.  And as the song reaches its end, the music cuts out–intentional or not, I can’t tell.  I’ve never heard a rap end a capella before, but it really makes the words hit haard and show how good his flow is even with out a beat

I can turn your front door to a drug store
Make any kitchen to a lab
Man, I hear these drug stories and I laugh
Talkin’ ’bout the Coke sales they never had
Pull up on a nigga, you gon’ know the pad
Only house with a Bentley on the grass

As the video ends, he is very pleased. He says

“5 to 50,” “Crown for Kings” “Rubber Bands & Weight,” Oh my goodness!  That’s why I’m a legend.

[READ: June 23, 2020] “Lord Mayor Magpie”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The fourth piece is a poem.  It is a simple, but lovely descriptive poem about a magpie.

This poem is five long stanzas.

Magpie idles in a limousine
of black feather with a slash of white
piping that outshines all chrome

…

he has the brazen glamour of a motorcade.

(more…)

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Sara O’Leary–“The Ones We Carry With Us” (The Walrus, July/August 2020)

Posted in Canadian Content, Coronavirus, Death, Dementia, Little Dragon, Old Age, Quarantine, Sara O'Leary, Short Story, The Walrus, Tiny Desk (Home) Concerts, Tiny Desk Concert on June 25, 2020| Leave a Comment »

julyaugust200SOUNDTRACK: LITTLE DRAGON-Tiny Desk (Home) Concert #35 (June 18, 2020).

As I was looking at concert listings, I kept seeing an upcoming show for Little Dragon.  I’d never heard of them but the promo made it sound like I should have (they have been around since 1996!).

Indeed, this Tiny Desk blurb says as much.

The group’s latest album, New Me, Same Us, is their grooviest, most concentrated in years, and I was eager to hear these songs as Little Dragon’s music is best experienced: live on stage. “Some of you might know that we were supposed to be on tour in the states, but due to these crazy times it got canceled,” lead singer Yukimi Nagano says.

So I was interested to check out this Tiny Desk (Home) Concert.  Unfortunately, I was was rather unimpressed by this set, because it seemed to be a lot more “Little” than “Dragon.”  However, the blurb indicates that this is not what they might normally be like:

these stripped-down iterations from the band’s home studio in Sweden move me but in a different way. I find myself focusing on the songwriting and how all the instruments come together for these numbers, proving just how strong the tracks from New Me… are.

Little Dragon is a four piece.  In this home concert they are (maybe) socially distanced–maybe they live together.

The first song “Rush” features prominent bass from Fredrik Wallin, trippy keys from Håkan Wirenstrand, gentle drums from Erik Bodin and very soft vocals from Yukimi Nagano.  Nagano plays the wood blocks or whatever they are and then loops them-which is neat.  Midway through the song during a lengthy, chill an instrumental break, Wallin switches to acoustic guitar as Nagano, oohs.  Then he’s back to the bass for the funky end.

“Where You Belong” ratchets up the fuzz on the bass.  This song doesn’t sound all that different, although that bass is pretty great sounding,

Then as a bonus, Little Dragon played an oldie, “Forever,” which is still my favorite track from this genre-bending band.

“Forever” is the first song they ever wrote together.  It comes from their first album from 2007.  It’s a bit bouncier and funkier and sounds like they may have been a bit more dancey back in the day.

They end the set with “Every Rain” which returns to the trippier sound of the first two songs–echoing keys and Nagano’s soft croon.  Although this set doesn’t make me want to see them live.  I am curious to hear what they sound like when they are not stripped down.

[READ: June 23, 2020] “The Ones We Carry With Us”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The third piece is fiction although it reads a lot like a memoir.

It starts with the fascinating sentence: ” A few years ago, I accidentally midwifed a death.”

This could literally mean many things, although figuratively it makes sense for what she actually means.

The narrator then goes on to tell us about three women whose lives have impacted her.

The woman who died was Agatha. (more…)

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