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Archive for the ‘Politicians’ Category

SOUNDTRACK: THE ANGELUS-“The Young Birds” (2019).

Every once in a while I like to check in with Viking’s Choice on NPR’s All Songs Considered.  Lars Gottrich specializes in all of the obscure music that you won’t hear on radio.  For this month, he did a special focus on Patient Sounds. a small label based out of Illinois.

[UPDATE: At the end of 2019, Patient Sounds closed shop. I’m not sure if any of these songs are available outside of Bandcamp].

Lars had this to say about the label

Matthew Sage, who runs the label, knows that dynamic drone, jittery footwork, oddball drone-folk, hypnagogic guitar music and cosmic Americana can exist in the same space.

The second song of the week is by The Angelus.  Lars describes the song:

Redemption often comes at the hands of something bigger than yourself, but as The Angelus’ soul-rattling doom-gaze reminds us, the love of young children will make you humble.

This song starts with crashing heavy chords–cymbals and loud guitars.  But then it settles down to a groovy death riff.  The surprise to me was when the singer began singing.  He has a soft melodic voice which totally changes this from a heavy dark song into a kind of melodic slow heavy song.  The chorus is surprisingly heavy and even ends on a kind of positive mood.

[READ: September 1, 2019] “Class Picture”

This story surprised me because it started

Robert Frost made his visit in November of 1960, just a week after the general election.  It tells you something about our school that the prospect of his arrival cooked up more interest than the contest between Nixon and Kennedy.

If Nixon had been at their school, they would have glued his shoes to the floor.

This is quite a lengthy story and there are a lot of components.  Wolff fleshes out this school very well.  So well, in fact, that I could see this being developed into a novel [It is actually an excerpt from a novel]. Although for the purposes of this story, the plot is dealt with fully.

It also makes me wonder if such a school could actually exist.  Certainly not in 2020, but even in 1960?  Because this school exhibited pride in being a literary institution. Glamorous writers visited three times a year and the English masters carried themselves as if they were intimates of Hemingway.  The teachers of other subjects (math, science) seemed to float around the fringe of the English masters’ circle.

The tradition at the school was that one boy would be chosen to meet the famous author who was coming next.  This year it is Robert Frost.  Each boy would submit an entry (in the case of Frost it would be poetry).  The author himself would select the winner.  And these meetings were a big deal to everyone on campus.

The narrator is very excited but he knows that his poems are subpar–he writes fiction.  He was on the school’s literary magazine board so he was familiar with the other great writers in his class.  There were three.

George Kellogg was a proficient writer of poetry, although the narrator found the boring.

Bill White was the narrator’s roommate.  He’d written most of a novel already and his poems were impressive.

Jeff Purcell was the third.  He was also on the literary magazine and was quick to dismiss others.  Could that translate to his own writing?

The one detour from the poetry angle is about smoking.  The school forbade smoking but a lot of boys did anyway.  The narrator said he loved smoking.  He smoked in storage closets and freezers, steam tunnels and bathrooms.  He even went out for cross-country so he could smoke while running in the woods.

If you were caught smoking you were expelled.  It happened every once in awhile.  A person was sent home just before the Frost Poem deadline.  This made the narrator quit smoking on campus.

The narrator wrote a poem for the occasion but he didn’t think it was good enough.  So he decided to submit an older one on the off chance that Frost liked it.

I won’t spoil the winner, but Frost did come to the school and he read some of his poems aloud.  During the Q&A that followed a master asked a question.  Interestingly he misstated the title of the poem.  He called it “Stopping in Woods” which Frost corrected instantly to “Stopping by Woods on a  Snowy Evening”  The master continued the question asking about iambic lines  Frost says “Good for you, they must be teaching you boys something here.”

The boys all laughed and Frost seemed pleased–had he made a mistake about the master or had he known all along?  The boys were surprised to learn later that Frost was quite funny.

The end of the story shows the winner of the contest questioning the value of his poem.  He felt that Frost mis-read it and that perhaps he won for the wrong reasons.  Should he blow off Robert Frost?  Is he crazy?

I really enjoyed this piece and found myself thoroughly engaged.  If this is part of a novel, I would be very curious to read it.  Turns out it is an excerpt from the novel Old School.

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SOUNDTRACK: BAS-Tiny Desk Concert #875 (August 5, 2019).

I’ve never heard of Bas, but he performs a surprisingly upbeat-sounding set of songs for lyrics with so many curses.

Bas, the Paris-born, Queens-bred MC delivered an energetic and comical set.  Just like his lyrically impressive and sometimes dance-inducing Tiny Desk — peep his headbanging and seated sambas throughout — Bas always balances his bravado with a relatable sense of humility.

The four songs are from his third studio album, Milky Way.

“Barack Obama Special” starts with this fascinating lyric:
This one is dedicated to
My bitch ass neighbors, haha, yeah
‘Cause I’m living better now, better now
Bitch I’m living better now
Yeah
I had to move ’cause neighbors so racist

But he makes sure to clarify

“My new neighbor’s mad cool. So shout out to Peggy.  Peggy be picking up my mail when I’m on tour.  I don’t want her to watch and be like I thought you was such a nice young man.”

The song segued into “Purge” which starts with a simple but cool sounding guitar riff from Nathan Foley.  Sweet keys are sprinkled over the top.  Mereba and Justin Jackson provide gentle backing vocals.  Ron Gilmore adds some very cool bass lines from the keys throughout all the songs.

“Designer” has some cool off tempo synth lines and ends with a ripping distorted Prince-like guitar solo.

The song finishes with a bouncy instrumental section and Bas says, “I feel like I just won the whole circuit in Mario Kart.  Where’d you get that music from?  Don’t get me sued.  Nintendo coming for us.”

Ron Gilmore then plays a fun little circus music riff and Bas says, “Nintendo cut the check!”

Throughout the set, Johnathon Lee Lucas on drums is a lot of fun to watch as he’s got a whole array of drums and pads to play.

They are having so much fun they almost forget to play the last song “Tribe.”  This one ends with another nice instrumental jam which Bas says went on for much longer than they rehearsed–that was cool.

[READ: August 1, 2019] This Bridge Will Not Be Gray

Dave Eggers has written all kinds of books through his career.  This was his first children’s book (with cut-out art by Tucker Nichols).

Eggers is from San Francisco and he loves his home city.  This book is a love letter to the Golden Gate Bridge and the area that inspired it.

I honestly had no idea about any of the information in this book, so it was educational for me as well.

For instance, I did not realize that the passageway between the bay and the ocean was called The Golden Gate.  Thus, that’s why the Bridge is named that, not because it was supposed to be gold. (more…)

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SOUNDTRACK: iLe-Tiny Desk Concert #874 (August 3, 2019).

It’s not very often that you hear a song that is all percussion.  But the first song of this set is only percussion and (Spanish) vocals.

iLe is a singer in the Puerto Rican band Calle 13.  Her most recent solo album Almadura:

is filled with metaphors and allegories about the political, social and economic conditions in Puerto Rico.

When vocalist Ileana Cabra Joglar and her band visited the Tiny Desk, they’d just arrived from the front lines of the historic demonstrations taking place in Puerto Rico. Two days earlier, they were part of a crowd of tens of thousands who were on the streets calling for the resignation of embattled Gov. Ricardo Rosselló. (Rosselló recently stepped down, effective August 2.)

Right from the start, it was clear what was on iLe’s mind in her song “Curandera” — “I am a healer / I don’t need candles to illuminate / I bring purifying water to cleanse / Removing pains so they never return” — as congas and percussion shook the room with an Afro-Caribbean beat.

This is the song in which all of the band members play percussion–primarily congas although Ismael Cancel is on the drum kit.  While everyone plays congas, it is Jeren Guzmán who is the most accomplished and who plays the fast conga “solo.”

In the chorus of the slow-burning “Contra Todo,” iLe sings about channeling inner strengths and frustrations to win battles and remake the world. Her lyrics are rich with history, capturing the spirit of the streets of San Juan even as she stood, eyes closed, behind the Tiny Desk. Her entire performance is a startling reflection of this moment in Puerto Rican history.

“Contra Todo” has a rich deep five string bass from Jonathan Gonzalez and two trombones (Joey Oyola and Nicolás Márquez). Two guitars (Bayoán Ríos and Adalberto Rosario) add a kind of percussive strumming and a quiet song-ending riff.  Jeren Guzmán plays the congas with mallets, something I’ve never seen before.

By the time iLe and her band launched into “Sin Masticar,” they’d already captured the full power of protest, as their musical arrangements raged with the intensity of a crowd joined by a shared cause and pulse.

“Sin Masticar” has a super catchy chorus, perhaps the best way to get people involved in a protest.

[READ: August 2019] Midnight Light

Two years ago Dave Bidini co-founded The West End Phoenix, a newspaper that is for people in Toronto’s West End.  It’s print, it’s old school, and it’s pretty awesome.  I don’t think I’ve ever been to the West End, but I find the writing and the content to be interesting and really enjoyable.

It’s no surprise that Bidini has worked in journalism and loved and hated it.

I’ve always loved newspaper: the smell of the ink and the rough of the newsprint weighted in my hands, their broadsheets flapping like Viking sails.  When I was a kid, our family read them all–the Globe and Mail, the Toronto Star, The Sun, and before that The Telegram–at the kitchen table with each person drawing out whatever they needed: comics, sports, business, entertainment (and yet never Wheels, the Star’s automotive supplement).

He started writing before he picked up a guitar.  When he was 11 he submitted a poem about a hockey player to The Sun‘s “Young Sun” section.  It was accepted and he won a T-shirt.

In 1991, he was asked to write a regular column for a Star satellite weekly called Metropolis.  The day his first piece was to be in print he waited at the nearest newsbox for the delivery man.

But he had no stamina and fewer ideas and he was eventually let go.  Which led to writing books.  But he still wanted to write for the paper and then he remembered: Hey, Yellowknife had a newspaper.

This book is about journalism.  But it’s also about the Canadian North.  And while the journalism stuff is interesting–and the way it ties to the North is interesting too, it’s the outsider’s perspective of this region of the world (that most people don’t even think about) which is just amazing to read about–the people, the landscape, the conditions.  It’s fascinating. (more…)

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SOUNDTRACK: RHEOSTATICS-“Woodstuck” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something you didn’t know, but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

I’d heard this song on several live bootlegs, but I was very curious about the original recording.

It’s a stomping folk song with great backing vocals and a very funny chorus.

You can’t go back to Woodstock baby, you were just two years old You weren’t even born

And this wonderful verse

Before they were kissing the earth now they’re washing their cars
Before they were feeling stoned now they’re feeling bored
Sure you shed your clothes but you shed no blood
Poor hippie child don’t sit and wait for another summer of love

Was it worth getting this whole compilation for a two and a half minute joke song?  You bet.

[READ: July 20, 2019] “Just Keep Going North: At the border”

William T. Vollmann continues to amaze me with his dedication to writing about issues that matter.

This lengthy essay is Vollmann’s attempt to discover what is happening at the border after trump warned of migrant caravans coming up from Mexico in February of 2019.

He decided to go to the Arizona border, a place he knew little about, to save himself from prejudgment (he is from California and knows that border situation a little better).  He went to the internationally bifurcated town of Nogales.  Nogales said it would sue the federal government if it did not remove the new coil of razor wire.

He talks to an immigration lawyer from Tucson who says in the old days it was no big deal to cross the border–you could come and go. There were some small changes in the mid-eighties.  Then 9/11 caused big changes.  It had been bad before trump but trump’s policies at least opened peoples eyes to what was happening here. (more…)

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SOUNDTRACK: JEREMY DUTCHER-Tiny Desk Concert #851 (May 22, 2019).

I have seen this photo from the Tiny Desk of Jeremy Dutcher in his shiny purple clothes for a month or so now and I’ve been very curious about just what was going on.

I had no idea that he was a First Nations performer or that this performance would be so intense.

Jeremy Dutcher came to the Tiny Desk with sparkling, purple streams of glitter draped around his shoulders. Then he set his iPad on our Yamaha upright piano, not to read his score as pianists do these days, but to play a centuries-old wax cylinder recording of a song sung in the incredibly rare language of Wolastoq.

Dutcher is

a 27-year-old, classically trained opera tenor and pianist. He’s not only a member of the Tobique First Nation in New Brunswick, Canada, but one of fewer than 100 people who still speak — and in his case also sing — in Wolastoq.

The song that used that wax cylinder recording was “Mehcinut” which begins with lovely gentle piano music by some quiet cello.

Jeremy Dutcher, along with cellist Blanche Israel and percussionist and electronics wizard Greg Harrison, wove that old recording into a remarkably passionate performance that was very 21st-century, with a deep nod to a century past.

Then the song jumps into a faster rhythm and the drums are added.  When Dutcher sings he sounds operatic and I assumed that he was singing in Italian.  It’s fascinating to learn that it is in Wolastoq.  Then I heard the old recording play.  I wasn’t watching, so I didn’t know what was happening.  That part is even more interesting to know what it is and the way he has based the song melody around that.

His album Wolastoqiyik Lintuwakonawa from which these song are taken won the 2018 Polaris prize.

“Pomok naka Poktoinskwes” [“The Fisher and the Water Spirit”] opens with more beautiful piano melodies and cello drones.  After a verse or so, he slams on the piano and the song takes off.  The percussion grows loud and heavy with Harrison hitting all kinds of things (acoustic and electronic) with both sides of his mallets and cello sliding up to high notes.

His voice As the song nears the end, he sings into the opening of the piano and you can hear his voice echoing as if from miles and miles away.   It’s outstanding.

His Tiny Desk performance illustrates his deep respect for his heritage, even as he sings through vocal processors and looping devices of the very present.

But more importantly, he stresses awareness of a people nearly extinct, to a culture often too steeped in the present.

Introducing “Koselwintuwakon” he says our earth mother is very sick. She will take care of herself.  But we must build relationships with each other.  These should be built on love and song.  He asks everyone to sing a drone–a symbolic and fun gesture that everyone an partake in.

This is a much quieter piece, with his voice looped.  It is peaceful and feel magical.  Harrison starts bowing something–I can’t tell what it is, but it adds magical sounds and his low thumping drums bring this ethereal song down to earth.

By the end of the piece, all of Dutcher’s voices have been looped and he sits at the piano manipulating the sounds.

It’s an amazingly moving moment and really unites the centuries and the cultures.  One can only hope that he inspires others to learn the language as well.

[READ: June 1, 2019] “Remote Control”

This is an excerpt from an interview on the CBC between Megan Williams and Uri Geller, the Israeli-British psychic who I can’t believe is still alive.

I don’t usually post about things like this but I enjoyed this so much I felt it needed to be posted here.

Geller wrote an open letter and made a “threat of sorts” to Theresa May attempting to get her to stop Brexit. (more…)

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SOUNDTRACK: TOMBERLIN-Tiny Desk Concert #855 (June 6, 2019).

I rather like when we see a glimpse at the workings of things.  Like how a Tiny Desk Concert typically happens:

Before I bring an artist to the Tiny Desk, I try to see them perform live. It helps me get a handle on what they’ll be capable of doing at my desk, minus all the artful tinkering of a studio. But I never saw Tomberlin before she came to my desk. My desire to see Mitski and Overcoats when Tomberlin was last in town had me at another venue and another opportunity failed to happen. But I was simply in love with Tomberlin’s ethereal debut album At Weddings and took a chance.

I didn’t know how her fragile songs would translate; all I knew was that Tomberlin was coming to the Tiny Desk to play acoustic guitar and sing, along with her musical partner Andrew Boylan. The eerie production that felt like the backbone to the fragile songs on At Weddings would be gone.

I haven’t heard this album, so I don’t know about the eerie production.  I wonder if that would set her apart from other similar women-with-acoustic-guitars.   This is not dismissive of Tomberlin–it is genuinely hard to distinguish yourself when all you have is a guitar and your voice.

On the first song, “Any Other Way” she sounds like a couple of other recent quiet(er) female singers.  The addition of Boylan helps a bit because he able to add some delightful harmonies and some simple guitar riffs to accompany her strums.

I think her perspective also sets her apart a bit

Tomberlin is the daughter of a Baptist pastor, grew up singing in the church and, since her teens, has questioned her own beliefs in God and faith. And as you listen to her sing these delicate, vulnerable songs, you may find your way to a new songwriter, capable of distilling doubt and isolation while forming a community around her music and expressing assurance.

So lyrics like this are quite unusual

Feeling bad for saying
Oh my god
No I’m not kidding

They say that even the most seasoned performers get nervous at the Tiny Desk.  Those nerves are apparent a bit between songs as she asks, “How’s work going today?  Anything happening? I don’t keep up with the things when I’m doing this thing.”  She continues, “I tried to mute trump’s name on Twitter but it doesn’t work.”  After trying to banter some more she says, “I’m going to stop talking and we’ll play another song.”

The combined guitars and harmony vocals on “Self-Help” are really wonderful. And this verse is terrific

I used the self-help book
To kill a fly
I think it worked mom
I think I’m fine

The final song, “Untitled-1” plays nicely with the harmony guitars.

When Tomberlin began to sing at her Tiny Desk Concert, wearing a bit of Tiny Desk nervousness on her sleeve while singing “I know I’m not eternal, I’m just a young girl,” these songs questioning her religious beliefs, felt deep and personal.

This song was the most interesting of the three for the guitars and for the way she really puts some power in her voice as the song progresses.

[READ: June 4, 2019] “Poorly Mapped”

The June 10th issue of the New Yorker features five essays by authors whom I have enjoyed.  They were gathered under the headline “Another Country.”

Dinaw Mengestu was born in Ethiopia but had not been back for many years.  His family left when he was two years old, in 1978.  When he returned, twenty-five years later (the only one in his immediate family to do so during that time) his aunt Aster asked him not to leave the house while she was out.

She had told him that nothing had changed in those years” even your mother’s shoes are still there.”  Further, everything he would need was available in their house–satellite television, internet and American food.  So he should stay put.

He assumed her concern as because of the protests and mass arrests dating back to 2005, but she shrugged all of that off saying that Western news made it seem worse than it was, “We’re fine, we go to work we live our lives.” (more…)

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SOUNDTRACK: JAY FARRAR-NonComm (May 17, 2019).

I didn’t like Uncle Tupelo back in the day. So when they broke up I didn’t really care.  I was supposed to care about the alt-country movement, but I didn’t. So I wasn’t interested in Sun Volt or Wilco.

Years later I have really gotten into Wilco and I feel like I’m supposed to dislike Jay Farrar because of the acrimonous split back in the day. But heck without the split, there’d be no Wilco.

I’ve never given Jay Farrar or Son Volt much thought.  So here’s my first real listen to him.

In this setting I find that he sounds a lot like John Doe, a deep soulful voice with acoustic guitar and electric accompaniment.

Jay Farrar‘s soulful folk sound graced the NPR Music stage Friday afternoon for the last day of NonCOMM. While he softly strummed his acoustic guitar, his Son Volt bandmate Mark Spencer backed him up on electric.

This set was made up of Son Volt songs.

He started with “The Reason” a thoughtful song and an indicator of what the rest of the set would sound like.  Calm music, lovely harmonies and pretty backing guitars.

Up next was “Reality Winner” which he introduced as saying “she was put in jail for sharing the truth.”  It’s a powerful song about a real incident that made news at the time but, like so many other things, it was eclipsed by the daily insanity of our government.  From The Boot:

Reality Winner, born in the South Texas town of Alice, is a veteran of the United States Air Force. On June 3, 2017, Winner was arrested after leaking a confidential document to an online news site, The Intercept.  “It’s a really unjust situation where Reality Winner leaked information for the right reason,” Farrar tells The Boot. “She proved that there was Russian interference in the 2016 [presidential] election.”

The lyrics:

What have you done, Reality Winner?
Reality Winner, what have you done?
This jail is a stone-cold answer
The biggest mistake of a Texas lifetime
In this ballad of the commander-in-chief
Is there any mercy for this standing belief?
Felt like gaslighting, not something to just accept
Proud to serve, just not this president
Those that seek the truth will find the answers

Up next was “Devil May Care”

Spencer harmonized with Farrar on a few songs; their vocals joined beautifully together for the chorus of “Devil May Care.”

There isn’t a lot of diversity in these songs.  Farrar’s voice is great but doesn’t change all that much.  They are good folk/country songs.  But I think it might be his presence that makes these song work so well:

The crowd was singing along to Farrar’s set and there was a feeling of mutual respect flowing between the performer and his audience. He has a stage presence that’s just plain cool. Not everyone can wear sunglasses inside without looking like a total jerk.

He introduced the next song saying that these songs are on the new Son Volt album of protest songs.  You may say “What is there to protest and I’d say Just about everything.”

Before singing “Union,” Farrar made a statement about there being protests about everything lately. He continued to tell this story through song while Spencer killed it on steel guitar.

This is a simple song that lays out our country’s divide and recounts Farrar’s father’s belief about the need for something to bind the country together: “He said national service/ Will keep the union together.”

“The 99” is also straightforward.  It may not be timely in the title (I don’t think people use that phrase as much anymore), but the sentiment is spot on:

Journalists in jail covering the scenes
The profit columns rise for the corporate machines
Take the stand now, protest and holler
Desecration of the land for the almighty dollar
Ninety-nine percent
Ninety-nine percent
It’s a trickle-down world
Like you’re stuck in cement

All of the songs were from the new album Union, but he ends the set with an old song.

The mood was brought back up as the set concluded with “Windfall”, a two-decade-old Son Volt song [from Trace].

It is certainly more positive, I guess from back when things were a bit better (the 90s).

[READ: June 3, 2019] “A Dream of Glorious Return”

It’s not often that people intentionally read twenty-year old news.  Maybe for historical reasons or, in my case, because you want to read a piece by a particular author.

So here is a twenty-year old essay from Salman Rushdie about the first time he returned to India after the fatwa had been put on his head twelve years earlier.

He returned to India in April 2000 (I guess the 90s weren’t great for Rushdie).

But first he talks about the many times he left India.  First when he was thirteen and went to boarding school in Rugby, England.  While he was away his father sold their family home in Bombay.  Salman was devastated and is still angry about it.  He believes he would be living there today if they still owned it. (more…)

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SOUNDTRACK: CHERRY GLAZERR-NonCOMM (May 15, 2019).

A couple of years ago I had a pass to NonComm, but ultimately I decided not to go.  I had never been to World Cafe Live and, while it sounded like a fun time, it was just so many mid-week nights and lots of leaving early, that it sounded more exhausting than fun.

I have now been to World Cafe Live and I can imagine that the (less divaish) bands are hanging around talking to people (and radio personalities) which is probably pretty cool.

I loved the idea of these sorta personal concerts, too.  But I have since come to see that they are 20-45 minutes tops.  Hardly worth driving 90 minutes for.

But now that the sets are available to stream after the show, there’s no need to go.

The year I was going to go there were a bunch of artists I was excited to see.  This year there weren’t as many.

Although Cherry Glazerr is a band I’d like to check out.

Cherry Glazerr is a Los Angeles trio who formed in high school.  The blurb notes:

They’ve been known to keep a social and political message at the forefront of their songs, confronting the misogyny that’s too prevalent in their scene — and in our culture.   At one point, frontwoman Clementine Creevy turned her back to the microphone, leaned back limbo-style, jumped up and down — and didn’t miss a beat. That’s what frustrated feminist punk looks like in 2019 according to Cherry Glazerr.

They totally rock as well, cramming six songs into 20 minutes.

They open with feedback and drums that settles into “Ohio” –a distorted lumbering catchy song with Creevy’s vocals riding along the top.  I love the unusual riff that accompanies the song after the verses.  The solo is simple but very cool.

“Self-Explained” is slower with a cool vocal line in the verses.  It has a tempo that demands a big build up.  And the guitar solo fills that in really well.   “Wasted Nun” has some more great buzzing guitars and thumping drums over a simple but satisfying punk riff.

“Daddi” changes the dynamic of things with whispered creepy-sounding lyrics and a quiet guitar melody for the verses.  The big pounding chorus changes things up dramatically.

Those three songs come from their new album, while the final two come from their previous album, Apocalipstick.  “Apocalipstick” has a big powerful riff and turns out to be a rocking instrumental–it’s as good as the title of the song.

They end with “Told You I’d Be With The Boys,” a song with a cool riff and some nifty guitar licks as well.  I also like the vocal tricks that Creevy uses on this track.  And the way it ends is a total blast.

It’s a great set and makes me want to see them next time they’re playing more than 20 minutes!

[READ: May 27, 2019] “Ross Perot and China”

The title of this story was just so evocative.  I couldn’t imagine where Lerner would go with this.

And so as I started reading it, I had to wonder, is the main character Ross Perot?  Is that a young Ross Perot on a boat, drinking Southern Comfort in a man-made lake?  It sure could be.  Or maybe the young lady he’s with is Ross Perot’s daughter?

So that when the young lady slips off the boat unnoticed and he can’t find her, I wondered–where is this going?

Well, soon enough it is revealed that Ross Perot is not a character in the story, he is more of an abstract idea. (more…)

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SOUNDTRACK: TACOCAT-NONCOMM 2019 (May 14, 2019).

Tacocat are from Seattle and they are very happy to be here.

It sounds like that was another set that would have been a lot of fun to see:

An indie-punk four-piece from Seattle [singer Emily Nokes, drummer Lelah Maupin, bassist Bree McKenna and guitarist Eric Randall] walked onto World Cafe Live’s upstairs stage glowing—literally. Covered head-to-toe in bright colors and sparkles. The band brought an unwavering burst of energy to the first night of NonCOMM, performing a handful of songs from each of their three albums.

Tacocat wasted no time getting started as they jumped right into “Hologram” from their latest album This Mess Is a Place. Lead singer Emily Nokes started dancing with a tambourine in her hand and didn’t quit until the set was complete (minus breaks between songs to sip some tea—we hope she’s feeling okay).

“Hologram” puts a slight political spin (I assume) on their poppy punk songs.  Indeed, their identity seems to be one of snark and surf-pop, but with thoughtful questions underneath

Not so long ago, I used to feel like
I was too sensitive to be alive
But maybe now it’s the opposite
Too much to say
So I don’t say anything
Is numb even a feeling?
I just wonder how anyone falls for this anymore

“Bridge to Hawaii” is about seasonal depression–wouldn’t it be nice to build a bridge from rainy Seattle to beautiful Hawaii so that you could just walk there?  While “New World” wonders what it would be like to build a new world–like in sci-fi movies.

New world, new planet
No ugly buildings in my eyes
No paperwork, no jerks, no parking tickets
No beak to feed, no nine-to-five

“The Joke of Life” is about “when when things are too hard to make fun of anymore because they’re already making fun of themselves.”   Randall chimed in, “the death of satire.”  The song contains the chorus: “The jokes is that the joke is already a joke.”  This one features backup vocals from Randall and McKenna which perfectly complement Nokes’s raspy lead vocal.

At the end of the song drummer Lelah Maupin [who was sporting a checkered onesie and a toothy smile throughout all 7 songs the band played] said, “my whole life as a drummer has been building up to playing that song.”

“Grains of Salt” changes their sound a bit with some synthy solos.  It’s more poppy than punky but doesn’t feel too far away from their sound.

Randall says that they needed t pick a single for their album and “Crystal Ball” just didn’t make the cut.  “But we love it.  We love all our children equally.”

The final song, “I Hate the Weekend” is which is dedicated to everyone who ever worked in the service industry…  like you.  Let’s all be nice.  Let’s all tip well.  Let’s not throw up in the sink.”  It’s a ripping fast song with this nice section

Homogenized and oh so bleak
Got a hall pass from your job
Just to act like a fucking slob

before the chippy clap-along chorus.

I missed Tacocat when they came around, but I hope they open for someone I see real soon.  Stream this show on the media player.

[READ: May 3, 2019] “Fake News”

The July/August issue of The Walrus is the Summer Reading issue.  This year’s issue had three short stories and three poems as special features.

I don’t normally write about poems.  Certainly not ones that appear in magazines (this blog would be all poetry if  did that).  But for a summer reading issue that features three poets, I thought I’d make an exception.

Especially for this one, which is subtitled “An American bodyguard forsees his death.”

How’s this for an opening line

Do I love my country less  than I pledged,
since I haven’t yet brought the tent top down
on this circus?  Head clown, I and the men

code call him, in small font, or else imPOTUS–

But if some fanatic
does attempt to off him (snipe him, stab him,

body bomb him), my Navy SEAL-trained nerves
will trigger a textbook-expert tackle–

block bullets with my skull, spine, sacrum

I have often wondered if we would ever see a day when a bodyguard would turn on him–for love of country since he is wrecking our so badly.  I assume not.  I can’t imagine what would have to happen to a person’s mind to act that way.

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SOUNDTRACK: DAVID BYRNE AND BRIAN ENO-My LIfe in the Bush of Ghosts [Remix website] (1981, 2006).

I’m stealing the bulk of these comments from a Pitchfork review of the album reissue because I have never actually listened to this album which I’ve known about for decades.

When Eno and Byrne released My Life in 1981 it seemed like a quirky side project.  But now, Nonesuch has repackaged it as a near-masterpiece, a milestone of sampled music, and a peace summit in the continual West-meets-rest struggle. So we’re supposed to see Bush of Ghosts as a tick on the timeline of important transgressive records.  Nonesuch made an interesting move that could help Bush of Ghosts make history all over again: they launched a “remix” website, at www.bush-of-ghosts.com, where any of us can download multitracked versions of two songs, load them up in the editor of our choice, and under a Creative Commons license, do whatever we want with them.

The only thing is, at the time this review was written, the site was not up yet.  And as I write this in 2019, there’s nothing on the site except for a post from 2014 about Virgin Media and Sky TV.  Alas.

[READ: May 1, 2019] “The Ecstasy of Influence”

Back in the day I was a vocal proponent of free speech.  It was my Cause and I was very Concerned about it.

It’s now some thirty years later and I don’t really have a Cause anymore.  It’s not that I care less about free speech, but I do care less about the Idea of free speech.

Had I read this article in the 1990s, I would have framed it.  Right now I’m just very glad that people are still keeping the torch alive.

Lethem begins this essay about plagiarism by discussing a novel in which a travelling salesman is blown away by the beauty of a preteen girl named Lolita  That story, Lolita, was written in 1916 by Heinz von Lichberg.  Lichberg later became a journalist for the Nazis and his fiction faded into history.  But Vladimir Nabokov lived in Berlin until 1937.  Was this unconscious borrowing or was it “higher cribbing.”

The original is evidently not very good and none of the admirable parts of Nabokov’s story are present in the original.

Or Bob Dylan.  He appropriated lines in many of his songs.  He borrowed liberally from films, paintings and books.  Perhaps that is why Dylan has never refused a request for a sample. (more…)

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