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Archive for the ‘Politicians’ Category

SOUNDTRACK: tUnE-yArDs-Tiny Desk Concert #179 (December 1, 2011).

tUnE-yArDs perform three songs in this Tiny Desk concert.  Merrill Garbus doesn’t chat a lot between songs, but she’s clearly having a good time (witness them all jumping at the end of “You, Yes You” and how much she smiles at the end of the set.  This is a wonderful opportunity to see and hear her live sampling technique in a small setting (with close up cameras!).

Her voice sounds great–she pulls off all of those voices that she conjures on the record.  And her ability to sample herself and make it work is wonderful to witness (I never imagined that some of those “sirens” and “keyboards” are actually her voice).

The live band is also really hot.  The bassist really hold everything together and the horns sound great–duplicating the sound of the record with just enough flare to keep it original.

And to think she’s making all of  that guitar noise with a ukulele!  It’s pretty groovy.

Watch it here.

[READ: January 21, 2012] The End of War

This is a non-fiction book in which Horgan believes that in the not too distant future (his lifetime I believe), we will see the end of war.  Not the end of violence, nor anger nor aggression–he’s not crazy–but military campaigns against another country could be ended if we reversed our fatalism about war’s inevitability.

Horgan is a writer for Scientific American and in this book he uses the scientific method to show that ending war is utterly possible.  Now, although Horgan is himself kind of a pacifist (he’s not entirely one, this interview explains), his family is not–his father and grandfather are both veterans and his son is looking to enlist in the army.  Nevertheless, Horgan feels that war is not a viable way to solve problems and that the cost of human life is never worth it.

His research shows him that war should be thought of as a solvable, scientific problem—like curing cancer.  The difference is that cancer is outside of our control, while war is not.  But like cancer, war can infect any society–there is no “reason” for it, but it is like a virus–it infects all cultures, even peaceful ones.  If one culture is aggressive the peaceful neighbors need to prepare for war or move away.

Horgan anticipates skepticism, indeed, many of the sources he quotes are skeptics, and he deals with all of their arguments accordingly.  He looks at those who say that war is genetically part of humanity (as many people believe) or that the best way to prepare for peace is to prepare for war (as just about everyone seems to believe).  He looks at those who say that scarcity causes war (not necessarily true), to those who say that as long as there are guns there will be war (he disagrees).  He has a reasonable, believable argument for all of these doubts.  He even shows that the whole “alpha male, XXY chromosome” argument has been disproven and while men are more prone to violence, they are not more prone to wage war.

He also shows scientific evidence that war has not been around as long as people (or even apes) have existed.  Indeed, the first evidence for “war” (as opposed to violence) is 10,000 years ago (not much in humanity’s timeline).

He culls data from previous wars to show that the causes of wars can never be narrowed down to one thing.  And yet, rather than seeing this as a negative–that so many things cause war, he sees it as a positive–that causes of war are not monolithic and impervious to breakdown.

I was skeptical of this book when I started reading it.  I was willing to accept the various scientific answers that he showed (that war is not innate, for example) but my skepticism came because of what I guess you call the military industrial complex–that our military budget is huge and is not going to go down any time soon.  Just see how much protest is garnered by the miniscule amount that President Obama wants to reduce it.  [Everybody knows this truth but it’s worth seeing in print–our military budget is more than almost every other country combined.  China, who spends the next largest amount on their military has a budget that is 1/6 the size of ours.  That is shocking and depressing and a horrific waste of money].

But his point is that like with so many other things that we have outlawed or abolished over the years: slavery, apartheid, monarchy (as opposed to democracy), acceptance of torture; if we have enough consensus we can also abolish war.  He gives examples that it’s actually not as hard as we might think.  Germany and Japan become pacifist virtually overnight (it was forced on them, but they have taken to it with no problem) and even better, Sweden and Switzerland are pacifist voluntarily.

He also points out that war is already on the wane–although the United States was in two wars very recently, the warlike nature of the world is much less than it was even as recently as the first half of the 20th century.  The number of casualties from war has dropped dramatically compared to World War I.  We simply need to find ways to solve crises that do not involve killing people.

All of the chapters were interesting in this book (the book is more or less set up to deal with an issue per chapter).  Some of the chapters were a little long but at 186 pages (plus a bunch of citation pages) this book is short overall.  I appreciate all of his scientific rigor and his ability to show the arguments and then knock them down.

For me, the most interesting and satisfying chapter was the one that found that preparing for war, despite claims that it is necessary, actually does not keep a people safe. That the allocation of resources towards war removes resources from things that actually make people’s lives  better: art, culture, medicine, health.  Preparing for war doesn’t keep us safe, it actually harms us.

Similarly, he shows that competition for resources is not necessarily a cause for war.  To the contrary they have found that in some cultures scarcity brings out altruism.

In short, he says that the only thing that prevents us from abolishing wars is our fatalism that war is inevitable.  The more fatalistic we are about war the more we accept hawkish ideas which perpetuates more war. Once we stop believing that and we try to work towards the end, he believes that we war can end very quickly.

Horgan doesn’t really calm my fears about the military industrial complex–but who knows with enough popular opinion, maybe voters can change things.  It’s a wonderful thought.  And here’s hoping that this post can spread the good word.

And here’s an interview with Horgan that addresses a lot of these questions.

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SOUNDTRACK: WILD FLAG-Live at the Black Cat, October 20, 2011 (2011).

It’s interesting to compare this show by Wild Flag with their SXSW show.  This set is longer, but they retain the same raw energy and intensity.  It also sounds as though the tour has been rough on Carrie’s voice, which sounds a bit strained and hoarse (even when she talks!).

They play most of their debut album, but they also throw in a couple of new songs and even a few covers.  Perhaps the most fascinating part is the 15 minute (!) version of “Racehorse.”  There’s a lengthy noodling section as well as a cool part where Carrie goes a little crazy asking about money.

Janet Weiss is absolutely amazing here too.  And the keyboards, definitely complement everything well, but they are always the most notable flubs, and there’s the same one as in the SXSW show (not as bad, but noticeable).

Without a doubt the most interesting thing is the hearing that Mary Timony gives guitar lessons in Washington DC.  She lives there and evidently earns extra cash by doing guitar lessons.  Wow.  How cool would that be?

Check out the show here.

[READ: January 15, 2012] The Influencing Machine

Brooke Gladstone is one of two reporters who works on NPR’s On the MediaOn the Media is an awesome show which dissects things that happen in the world and examines the way the media portrays the events.  They work pretty hard to see who is reporting bias, who is exposing bias and how things are getting out to the average media consumer.  It’s worth anyone’s time to read (it doesn’t take very long).  And it’s also fun and enjoyable.  As anyone who has heard the ending of On the Media: “and edited [dramatic pause] by Brooke” knows, there’s always a smirking grin attached to the program.

When I heard that this book came out I was pretty excited to read it.  And then I promptly forgot all about it.  Lucky for me, my wife can take a hint, and she got it for me for Christmas.

The first surprise of the book is that it is written as a graphic novel–illustrations by Josh Neufeld (who has drawn for Harvey Pekar’s American Splendor).  The funny thing about the illustrations is that I have no idea what Brooke Gladstone looks like (which I rather prefer about my NPR announcers), but I really like the cartoony style of her avatar (which reminds me of Elaine from Seinfeld and which inspired me to draw a kind of similar version on my drawing site.

On to the book.

This book works as a primer for understanding media ownership, media consolidation and media power.  The opening few chapters are going to be nothing new for anyone who has read Chomsky or Vidal on the media.  But since most people haven’t, it’s a wonderful way into some of these thorny issues of who tells us what and why. (more…)

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SOUNDTRACK: ADELE-“Someone Like You” (2011).

I’ve been hearing this song in unlikely places–like on a radio station that plays The Foo Fighters and the Butthole Surfers.  So I thought I’d actually listen to it and see what the fuss was about.  It has been selected as one of 2011’s Best Songs (So Far) on NPR  (where you can hear it in full). 

It’s a sparse piano song, a pretty, desolate melody .  But the real selling point is Adele’s voice.  I had heard her described as a kind of Amy Winehouse (who I don’t like) or a sort of R&B siren,(which I wouldn’t like).  But she has a kind of husky voice that belies its power.  In some ways she reminds me of a more mature Fiona Apple.

On this song at least, it’s just her and her piano–no pretensions to genre or style, just an honest emotionally naked song.

The melody isn’t obvious–it’s not an immediate grab you by the lapels hit.  But it is haunting and her voice supplies the bulk of the tune.  She can carry the whole thing with ease.

I’m not sure if it fits on that radio station, but it is certainly a wonderful song.  I wonder what the rest of the album sounds like.

[READ: October 31, 2011] “One Year: Storyteller-in-Chief”

I am posting this review today because it is Election Day (in New Jersey, anyhow).  One can only hope we get some of the awful incumbents out of town, but we’ll see.  I’m also posting this now because I feel the need to vent about our current Presidential Candidates.  Not the men and woman themselves (who are all barely qualified to be in charge of their own car keys, much less the country).  What I’m venting about is the fact that we know these men and women are candidates at all.  Or the fact that so many prospective candidates have already dropped out.

The election is a year away.  A YEAR.  It’s bad enough that the media talks about everything the President does in terms of how it will affect his chances for re-election (again, A YEAR away) but that we have all of these bozos running around talking about what a bad job the President is doing as well is just dreadful.  And basically, instead of actually doing something about being President, he must do triage on the damage these loose cannons are causing.  True, Obama appears to be somewhat less than concerned with what they say about him, but the fact that everything that happens in Washington is foreshadowing the next election, it sure makes it hard for anything to get done.

Anyhow, in other countries, the citizens have a few months at most to decide who their candidates will be.  And a few months in our country would translate to much less expensive candidacies, much more opportunities for fringe candidates to be heard (for better or worse) and less candidate exhaustion (both them and us).  Why in the hell does it take eighteen months to run for President?  In what way are we served by having all of these people running for office for over a year?  And things are only going to get worse now that so many states have moved their primaries up so far (January 3, Iowa?  Really?  You want to narrow down the presidential choices ten months before the election?).

I know that my opinion won’t even cast a ripple in Washington, but come on.  I propose that people aren’t even allowed to declare their candidacy until the May before the election.  That gives them six months, which should be ample time to run an election campaign.  Have the primaries in August and September and then the general election in November.  That gives two months early in the season for primary debates and it gives a month and change after the primaries for general election debates.  This way the President isn’t distracted with running a reelection campaign and the populace (and the media) isn’t distracted for 18 months with candidates running or not running.  And seriously, if you can’t be organized enough to win an election in 6 months, you don’t deserve to be President.  How can I get this policy enacted?

This article from Diaz is a very good one.  It criticizes President Obama for not being a good storyteller.  He was an excellent storyteller before he became President (both as a campaigner and an author-Diaz cites Dreams from My Father in particular).  But since he has taken office his storytelling has lapsed. (more…)

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SOUNDTRACK: MC PAUL BARMAN-It’s Very Stimulating (EP) (2001).

So is this guy a joke? Well, he’s very funny.  Very funny, in fact.  But to my ear, not in a novelty sort of way.  He’s got the kind of rhymes that make you laugh but still work upon multiple hearings.  And, yes, Paul Barman is a squeaky, Jewish boy from Ridgewood, New Jersey (again!) and he really can’t rap on the beat and he really doesn’t have much in the way of rhythm, but got awesome skills in the lyrics department and he has production from Prince Paul (that’s the kind of credentials that anyone would like).

The theme of this EP is Paul’s utter failure to get with women (even in his fantasies).  He’s crass and vulgar and yet he’s also quite smart and rather witty (“I think about all the pube I got while reading the Rubaiyat“) .  The music is more or less inconsequential.  As Prince Paul noted, the craziness comes from the lyrics, so you don’t want to overkill the song.  But there’s some great samples and some solid beat work as well.  Nevertheless, we’re here for the words.  So, sample a few of these rhymes:

“The Joy of Your World”

It was time to copulate but we didn’t want to populate
So my bold groin reached for my gold coin proooophylactic
I unwrapped it, you can’t know how I felt
It wasn’t a gold coin condom, it was chocolate Chanukah gelt
The white part crumbled on her tummy and the rest began to melt
Foiled again…..

“School Anthem” or “Senioritis” (this song was renamed for the reissue of the disc it seems)

Homework is tell major lies or plagiarise encyclopedias, so boring
Fresh-faced teachers want to tickle ’em
but a test-based curriculum excludes exploring

I’ll let a mystery gas out of my blistery ass
Just to disrupt the misery of history class

“Salvation Barmy”

She said, “Go get a haircut”
So I showed her my bare butt
Pulled down my Carhartts put my moon in her star-charts

“I’m Frickin’ Awesome” ( I love this especially for the Lila Acheson bit)

It’s nice to be hypnotized by a man you don’t despise yet
He had a type of flow and I can’t quite label it
All I know it made me want to take off my cableknit
Sweater, Oh he better be hetero
I hope they don’t catch us in the Lila Acheson
Wallace Wing when Paulus brings the mattress in–rudely
He backlashed my booty
like I was Susan Faludi over the Grace Rainey Rogers Room rostrum

“MTV Get Off The Air, Pt 2”  (the first two lines are fantastic, but the whole thing is genius).

Smirkin’ jocks with hackysacks
in Birkenstocks and khaki slacks
I’m the hypest lyricist
while they’re like, “What type of beer is this?”

Just wait until the full length for the utter genius that is “Cock Mobster” (how can be s o smart and so stupid at the same time?)

[READ: October 10, 2011] E Pluribus Venom

Like most people, I learned the name Shepard Fairey because of his iconic prints for Barack Obama.   In addition to supporting Obama, I really liked the design of the prints–simple, bold, an easy iconic style (which has since been lifted, morphed and used everywhere).  I know that many of Fairey’s prints actually come from other people’s original photos.  He has a print of Muhammed Ali in this book, and he clearly didn’t take the original photo (I don’t know where it came from).  But since all art is theft, I’m okay with Fairey taking someone else’s work and making something new from it.  I’ve always felt that attribution should be enough if you modify the original enough to call it different (which I feel this print does).  [The fact that he didn’t acknowledge the source does bug me, of course].  But that’s neither here nor there because this book predates all of that.

This book documents events that occurred in 2007.  The E Pluribus Venom show was based largely around two images that Fairey designed to reflect the two sides of capitalism.  The image to the right really doesn’t do any justice to the work itself, but you can kind of see that he created two-sided faux dollar bills.  The front showed all the good things that capitalism can do.  The back showed all of the evils that capitalism causes.  The images resemble dollars, but the text is straightforward in its message.  As with a lot of what Fairey does, it’s blunt and obvious but pretty cool.

As far as I’m concerned, though, this is the least interesting image in the book.  Although I love that they made dollar bill sized prints of these faux dollars and left them scattered around in cities to promote the show.  They way they were folded made them look at a glance like actual currency.  Very cool. (more…)

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SOUNDTRACK: TOM WAITS-Nighthawks at the Diner (1975).

This is Waits’ third album, a live recording (!) which was actually recorded live in the studio. But not the way most bands record live in the studio. The producers brought in tables and chairs and created a bar-like atmosphere into the (evidently rather large) studio.  Then they invited fans in to watch the performance. Wild, man.

Just as wild is the bebopping and scatting that Waits does here. The opening “Emotional Weather Report” is all kinds of comical phrasing and silliness about himself.  It’s funny and quite enjoyable.  And it makes it feel like a nightclub.  He also introduces mos of his sings with a story, and for most of the songs, the introductions are almost longer than the song.  The two-minute intro to “On a Foggy Night” is full of Tom’s storytelling–but in a much more improv jazzy style.  Indeed, it’s not entirely clear when the intro ends and the song begins.

The intro to “Eggs and Sausage” has the very funny conceit that the food he has eaten in some greasy spoon is pretty frightening.  The veal came down to beat the shit out of his coffee, but the coffee wasnt strong enough to defend itself.  Nice.  “Better Off Without a Wife” he talks about having an evening just to yourself, you know, for pleasure.  We all do it, he says, but I’m not weird about it; I don’t tie myself up or anything.

Overall, this is a fun album.  It’s loose, the crowd is at ease and so is Tom.  It’s long album–about 70 minutes, which might be a little too long, but you get the whole vibe of a night out–good stories and good music.

[READ: September 21, 2011] “Starlight”

This story is four short pieces.  The titles should tell you everything you need to know about the content: “Mrs. Nixon Joins the Final Official Photograph,” “Mrs. Nixon reacts to RN: The memoirs of Richard Nixon,” “Brownie,” and “Mrs. Nixon’s Thoughts, Late-Night Walk, San Clemente”

So, clearly these are four short pieces that delve into the mind of Richard Nixon’s wife, Pat.  I don’t know a lot about her or about Nixon himself, really (I know all the highlights or low lights but I haven’t really ever looked into the man aside from what the sitcoms say about him).

So when I was reading the first excerpt I just couldn’t get into it.  I didn’t know who the people were for sure.  I assumed Ollie was Ollie North, but who knows.  I almost didn’t read any more, I was so uninspired by the first one.  But the next day I decided to try again.  (more…)

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SOUNDTRACK: President Obama reading Where the Wild Things Are (2009).

A President who is literate!

Apparently my video won’t fit here unless I space this section out better.

I don’t really have anything to say, except that I enjoyed hearing him read this.

And it’s fun to watch the Secret Service pretend to be invisible.

One more line should do the trick.

See the video here.

[READ: August 24, 2011] Wild Things

Okay, so this is a novel.  It is based on Where the Wild Things Are, the film by Spike Jonze and Where the Wild Things Are, the book by Maurice Sendak.  Obviously, Sendak’s book came first.  But, it’s only got about 60 words in it.  So, how do you make a film based on it?  Eggers and Jonze worked together for a long time to craft a screenplay and then (as Egger’s Acknowledgments explain) Jonze more or less took over the film and Eggers went off to write this book.

Hence, the book is fully titled:

The Wild Things: A Novel by Dave Eggers Adapted from the Illustrated Book “Where the Wild Things Are” by Maurice Sendak and Based on the Screenplay “Where the Wild Things Are” co-written by D.E. and Spike Jonze

I had read Egger’s except “Max” that was printed in the New Yorker ages ago and I liked it well enough, but it seemed so much like WTWTA, that I wasn’t sure what the point was (I didn’t realize it was an excerpt and, strangely enough, it’s an excerpt from several sections).  And since I had seen the film not too long ago (and honestly was kind of bored by it) I wasn’t really that excited about reading this.

But since I loved Zeitoun and this fur-covered book has been sitting near my bed for a couple of years now, I decided it was time.  And I really enjoyed it.

Well, here’s the thing.  This book is not a novelization of the film.  You notice that right away because the first chapter (which is awesome) is not in the film at all.  In it, Max rides his bike to his neighbor’s house.  His friend is not home but his mother is and when she sees Max all by himself and on his bike without a helmet she freaks out (even though they live about four houses apart).  His reaction and her overreactions are really very funny.

There are scenes from the movie in the book, of course.  It is adapted after all.  Indeed, it is more or less the same as the book, but there are many scenes which Eggers has added that really help to flesh out the story and give depth to everyone involved.  As a matter of fact, Max doesn’t reach the Wild Things’ Island until page 100 (out of 285 pages). (more…)

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SOUNDTRACK: BEN FOLDS/NICK HORNBY-Lonely Avenue (2010).

As the cover of this album notes: “Ben Folds adds music and melody to Nick Hornby’s words.”  And that is true. The only surprising thing about this combination is that Folds is quite a good lyricist himself, so it’s surprising that he would sacrifice his words.  But regardless, the fit is a good one.

Sometimes it seems like Hornby is challenging Folds to come up with melodies for some of his more difficult lyrics which Folds lives up to).  But they have such similar sensibilities that (aside from occasional references to British things) the words could have come from Folds himself (although, Hornby’s a better writer, so Folds wouldn’t have written exactly the same things).

The big surprise is the diversity of musical styles on the disc.  Folds of course does play lots of different types of music on his previous discs, but I guess since the cohesion is Hornby’s words so Folds can really let loose.

The opener, “A Working Day” is a keyboard pop confection, a surprisingly 80s sounding synth song with some wry lyrics about being a writer/performer (“some guy on the net thinks I suck and he should know, he’s got his own blog”).  “Picture Window” is a beautiful downer, a string-filled song that seems like a companion to Folds’ “Brick” (“You know what hope is, hope is a bastard”).  It’s just as sad but the melody is gorgeous.

“Levi Johnson’s Blues” is a strangely topical song (in fact, it took me a minute to remember who he was when I first listened to the song.  Anyhow, it’s a silly song about what happened to the father of Sarah Palin’s grandchild.  And yet, despite the novelty of it, it’s actually a somewhat sympathetic portrait of the guy (sure he’s a redneck, but he’s just a normal guy thrust into a ridiculous spotlight–the liner notes say the chorus came from Levis (redacted) Facebook page).

“Doc Pomus” feels like a classic piano song.  While “Young Dogs: is a fast romper (with great vocals) and more keyboards.  “Practical Amanda” is a slow ballad (and Hornby says it’s not autobiographical at all).  While “Claire’s Ninth” is a story about a young girl of divorced parents who hates having two birthdays.  (With sweeping choruses!) Hornby states that this was his first accepted short story (modified for the song, of course) but the magazine that accepted it stopped publishing before his appeared.  D’oh!

“Password” is a wonderful song which only makes sense when you know the name of it (which I didn’t at first, as I usually don’t look at titles right away).  Throughout the song Ben spells words which leads to a cool conclusion–it’s wonderfully clever writing and it’s done in a fascinating R&B-lite style.

“From Above” is a jaunty rocker about people who never meet, although their paths cross quite often.  “Saskia Hamilton” is the “single” from the record.  It’s another great 80’s keyboard fueled romp.  Since I have a friend named Saskia (hi, Saskia) I’m fond of this song–her name is fun to say.  They have a bunch of fun in the recording too.

The final track, “Belinda” is designed like a classic 70s piano ballad (there’s a lengthy email printed in the notes that explains the construction of the song–reading that makes the song even more impressive).

It’s a great Ben Folds album.  It’s not as tidy as some of his other ones–but all of that experimentation leads to some new avenues of melody. It’s a risk that paid off.

[READ: May 10, 2011] Five Dials Number 7

This issue of Five Dials was primarily about Memoir.  Typically, I don’t like memoirs, but I’m finding (and this coincides with what one of the memoirs below states), that I just don’t like celebrity memoirs.  Or perhaps I just like three page accounts of an incident in someone’s life (which these are).

Each of the writers below is given an introduction in which they summarize WHY they write memoirs.  It’s interesting to see that many of them do, in fact, take other people’s feeling into consideration (not as seriously as Mark Twain who waited 100 years for the publication of his), but they try to do something or other to spare people’s feelings.  I was intrigued also that several of the writers also talk about finding themselves through writing.  One or two of them make the exercise of writing memoir sound obnoxiously solipsistic (which of course it is), but it’s nice to read ones that are interesting and not too self-centered.

CRAIG TAYLOR-A Letter from the Editor: “On Audio Detective Work and Memoir”
This letter explains the extent of the audio detective work that went into the interview (presented later) between Raymond Chandler and Ian Fleming.  Since I love playing with audio software, this was of especial interest to me.  And it made me really look forward to the interview. (more…)

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SOUNDTRACKMOGWAI-No Education = No Future (Fuck the Curfew) (1998).

This is a 3 song EP. The opener “Xmas Stripes” is one of my favorite early Mogwai songs.  The opening melody is really great, with a cool interesting bass and a nice guitar over the top.  At about 3:30 the song grows from a silent track to a menacing, growing beast until the drums start and the song and the main riff begins.  By 5 minutes it’s all out rock noise.  By 6 minutes the song is scaled back for the violin solo.  The remaining 7 (!) minutes are a denouement for the song.  Even though I love the track, I mostly love the first 8 or 9 minutes.  The ending tends to drag a bit.

But for all of their noise, Mogwai’s early releases were really quieter instrumentals, meditative songs that were really quite pretty.  “Rollerball” is a beautiful, sad three-minute track.

The last song “Small Children in the Background” continues in this quieter vein.  At nearly 7 minutes, it allows for a noisy middle section.  This noisy section is indeed mostly noise.  And yet the pretty melody of the rest of the track is just as loud throughout the mix, making for a very cool and very brief explosion mid-song.

Not all EPs are essential, but this one is pretty fantastic.  And I have Lar to thank for getting it for me.

[READ: March 10, 2011] Changing My Mind

It’s funny to me when that when I get into an author, I seem to wind up not reading the books that people most talk about until much later.  Take Zadie Smith.  Her debut, White Teeth, is something of a touchstone for many readers.  I missed it when it came out, but I loved On Beauty and figured I’d go back and read it.  That was almost a year ago.  And in that time I have read lots of little things by her and now this collection of essays.

Regardless, this collection of essays is a wonderful look in to the nonfiction world of a writer whom I admire.  And it was quite a treat.  Zadie is an intellectual, and that comes across in all of these paces.  Whether it’s the subjects she’s writing about, the footnotes she uses or just the acknowledgment that she likes art films and not blockbusters, we know where she’s speaking from.  And, of course, I’m right there with her.  The funny thing about this book then is how few of the subjects I know.

The book is broken down into five sections: Reading, Being, Seeing, Feeling and Remembering.  The Reading section is basically book reviews.  The Being section is about her experiences.  The Seeing section is about films.  The Feeling section is about her father and the Remembering section is about David Foster Wallace. (more…)

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SOUNDTRACK: MOGWAI-Ten Rapid (1997).

The release of this disc hot on the heels of Young Team rather confused me, especially when trying to keep track of which discs were “real” and which ones were compilations.  This one is a compilation.  It’s subtitled: (Collected Recordings 1996–1997).  And the fact that it has ten songs on it tells you just how much they released in those two years.  (It appears that they released 4 or 5 singles, although all the songs don’t seem to appear on Ten Rapid, and there seems to be a song or two unaccounted for.  Wikipedia also suggests that some of the songs were re-recorded for Ten Rapid.  Gosh, what’s a completist to do?).  And given all that they released back then, it’s also a surprise at how short this collection is  (just over 30 minutes).

The amazing thing is how much the disc sounds like a complete recording and not a collection of singles.  It is mostly Mogwai’s slower, quieter pieces, and the overall tone is one of “mood” rather than “songs.”  And, for those of us who thin of Mogwai as a really loud band, the prominent use of glockenspiel comes as something of a surprise (as does the quiet singing on two of the tracks).

The opener “Summer” is not the same as “Summer [Priority Version]” on Young Team.  This one is a beautiful track with glockenspiel while the YT version is much heavier and darker. “Helicon 2” (also known as “New Paths to Helicon, Pt. 2”), is a wonderful track with an interesting riff and texture.  On a recent live disc, it was expanded greatly. “Angels vs Aliens” and “Tuner” are the two tracks with vocals.  They’re both rather quiet and kind of soothing.

“I am Not Batman” is mostly washes rather than a riff based song.  “Ithica 27ϕ9” is one of their best early songs. It’s also the one track here that really experiments with sound dynamics.   It opens with a beautiful melody that swirls around for a bit.  Then the loud guitars come screaming out until it returns to that melody (and all in under 3 minutes).

The final track “End” is an entirely backwards recordings.  Wikipedia says that it is “Helicon 2” backwards, and I’ll take their word for it.

Ten Rapid is a really solid collection of songs showing just how good Mogwai was from the start.

[READ: March 8, 2011] Donald

This book is a speculative piece of fiction that answers the question: what would happen if Donald Rumsfeld was sent to Guantanamo Prison.  Note also that the cover is a parody of the cover of Rumsfeld’s own memoir (released around the same time).

The main character is clearly Rumsfeld, although he is never mentioned by his full name, always “Donald.”  But his description and his biography make it obvious that it is him.  There is a Note at the end of the book which states that the information about Donald is as accurate as possible.

First we see Donald in a library, presumably working on his memoirs.  He is accosted by a young kid who asks him questions.  Donald is annoyed by the kid and more or less blows him off.  Donald then has a fancy dinner with his wife and “Ed and Peggy” (two people who I can’t place historically).

That evening, masked people break into Donald’s home and haul him off to a prison (he is bound and his head is covered so he doesn’t know where).  The rest of the book sees him taken from one prison to the next, tortured in various ways (nothing too graphic, most of the torture consists of thinks like disrupting sleep, keeping the temperature really hot or really cold, and asking him lots and lots of questions, sometimes for 20 hours at a time.  There is no physical torture (again, it’s not graphic). (more…)

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SOUNDTRACK: DAVID FRANCEY AND MIKE FORD-Seaway (2009).

Mike Ford introduced me to Louis Riel on his album Canada Needs You, Volume One.  The song “Louis & Gabriel” features the lyrics “Oh, Louis Reil, here comes your friend Gabriel” outrageously simplistic (it is for kids after all) but so incredibly catchy it’s in my head whenever I see this book.  This is Ford’s most recent album, a collection of songs by himself and David Francey–who I didn’t know before this disc.

Seaway is a collection of 16 songs which are in one way or another about the sea.  Two of the songs appear on Ford’s release Satellite Hotstove, but the rest are new.  I don’t know if Francey’s songs are new or not.  I’m also unclear from the credits if Ford and Francey worked on these songs together (the notes suggest they did) or if they were recorded separately and then compiled.

The songs are primarily folk–simple acoustic numbers, often solo guitar, but sometimes with accompaniment.  Mike Ford has a great, strong voice, and is capable of some interesting stylistic changes.  His songs are more vibrant on this disc.  Francey has a wonderful, almost whispered voice.  He has a gentle Scottish accent which is great for his storytelling songs.  Mostly he speak-sings, but on some tracks, like “The Unloading” he sings a full-bodied chorus.

But it’s Ford’s song that bring a lot of variety to the disc.  “There’s No Rush” has a sort of calypso feel to it and “When You’re the Skip” has a wonderfully dramatic sea-shanty/musical feel to it.   And “21st Century Great Lake Navigators” is a rap–Ford frequently raps a song on his various albums.  His voice is very well suited to it, and his rhymes are clever and often funny.

This is a charming disc.  I wouldn’t say it’s essential, but it’s a good introduction to both singers, and, of course .

[READ: January 26, 2010] Louis Riel & Gabriel Dumont

Of the six Extraordinary Canadians books, I was least excited to read this one.  I’m not sure why, but I wound up leaving it for last.  But lo and behold it was easily the most engaging and, dare I say, exciting story of the six.  I’m sure part of that is because I didn’t know the outcome (even if Gabriel was somewhat famous in the U.S., I still didn’t know what had happened to him or to Louis).  And by the end of the book, I absolutely couldn’t put it down.

Joseph Boyden is a Métis writer (who I’ve never read before).  It’s obvious from the get-go that he is sympathetic to Riel and Dumont (which is to be expected in a biography, I would think).  He gets a tad heavy-handed about John A. Macdonald, but it seems justified.  For really you can pretty much take only one of two points of view about Riel and Dumont: they are either rebel heroes, standing up for the oppressed Métis, or they are traitors, intent upon destroying Canada’s expansion.

Now, I admit that I don’t know much about Canada’s expansion.  The first prime minister, John A. Macdonald, was instrumental in Canadian Confederation and was the driving proponent for the completion of the Canadian Pacific Railway.   But as with American westward expansion, Native cultures are in the way of this expansion. (more…)

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