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Archive for the ‘Religion’ Category

freedomSOUNDTRACK: CRASH TEST DUMMIES-Jingle all the way… (2002).

ctdEven though the Crash Test Dummies are often seen as a joke band or a one hit wonder (which I guess they are), I’ve liked them for a while (their earlier stuff a lot more than their later stuff, admittedly).  But it seemed like they’d have a fun take on Christmas music.

And it starts out in a comical sort of way with Brad Robert’s deeper-than-ever voice reciting about his life in Los Angeles, where it is warm and sunny at Christmas time.  I like that he rhymes 24th with up north.  The spoken section is quite loud in the mix (it sounds like he is right in your ear).  Unfortunately, that is the case when he starts singing too–he is uncomfortably loud in the mix and it sounds like he is holding back because of it–he doesn’t sound great and his voice sounds more comical than interesting.  Which is a shame because the music (with cheesey keyboards) is great.

Roberts sings lead on about half of the songs.  Ellen Reid sings lead on the other half except for a couple where they split lead duties.

The rest of Robert’s songs include: “Jingle Bells” (which is certainly comical–it sounds like a chain gang song with the “Hey!s” sounding almost like a prison chant).  It’s weird and cool though (even if his voice is once again too loud in the mix).  “God Rest Ye Merry Gentlemen” has his voice mixed much better–he seems to be really singing.  And this version–a loungey/jazzy rendition is much great fun.  “God King Wenceslas” sounds proper (with Reid’s close backing vocals).  It has a pretty penny whistle keeping the song going.

Ellen Reid has a great voice and I love hearing her sing.  But in the first two songs she sings lead on in this disc she sounds like she is singing too slowly.  “O Little Town of Bethlehem” especially sounds like the music is going to pass her up at any minute.  I also don’t like the country vibe of the song.  “In the Bleak Midwinter” is also (intentionally) slow, which I don’t like.  Perhaps I just don’t like this song (although I do think the melody is lovely).  “The Little Drummer Boy” is beautiful and Robert’s bass backing vocals are perfect.  “Silent Night” is done in a countryish style, but I like this version.  Although normally this song can make me cry, this version absolutely does not–too honky tonkish.

The final song, “The Huron Carol” is quite formal and proper–just Reid and a piano opening the song.  It sounds very holy, very pretty.  When Robert’s bass backing vocals come in, it adds more depth to the song.  And it’s a lovely way to end.

[READ: October 30, 2014] Freedom

I read this a couple months ago and then got so caught up in reading other things that I never got around to posting about it.  And that’s a bummer because I really liked the book a lot and I fear that I won’t remember everything I wanted to say about it.

I had read a couple of excerpts from the book in the New Yorker (quite some time ago).  They were helpful in grounding the story for me, but they didn’t prepare me for the breadth of the story.  It follows one family, the Berglunds, through several decades, focusing on each of them in great detail as they navigate through the Reagan, Bush, Clinton, Bush and a smidge of the Obama years.

The Berglunds are a liberal family.  They were among the first white families to move onto their urban street in St. Paul, Minnesota (after white flight to the burbs).  Patty is a charming (some say smug) homemaker and Walter is a lawyer (public defendant, naturally).  They have two kids, Jessica and Joey.  Patty dotes on Joey to an embarrassing degree (Joey is embarrassed by it, Jessica is infuriated by it and even Patty is kind of embarrassed when she really thinks about it).  At the same time she is rather neglectful of Jessica.  Naturally, Jessica becomes quite the success (loves reading, committed to the environment), while Joey rebels and finds all kinds of ways to disappoint them and make money.  (This isn’t a bad thing, but the family has plenty of money and Joey doesn’t need to (especially not the way he goes about it).  Not to mention Walter and Patty are not into the money for money’s sake thing.

The book opens that there was some “news” about Walter. He and Patty had moved to Washington DC two years earlier.  He clearly did something bad (we won’t find out until much later).  But that serves as an introduction to the Berglunds.  And then we go back to see them, years earlier, settling into St Paul. (more…)

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rich nameSOUNDTRACK: AN OLDE WORLD CHRISTMAS (European Holiday) (1990?).

olde worldWhile yesterday’s Norwegian Christmas album was awesome, this one falls very very short.  The premise of the album is so promising: Christmas songs from around the world.  There are Spanish, French, English, German, Scandinavian and Italian songs here!

Well, the problem is that this entire record was recorded (apparently) by one guy on a keyboard with five preset sounds.  It is so disappointing.  I mean sure it’s pretty (sort of).  But there is no sense at all that these are different countries’ songs.

For instance, “Angels We Have Heard on High.”  Who knew that that was originally a French song?  Not me.  And in no way does this keyboard instrumental version of “Les Anges Dans Nos Campagnes” convey that it is anything other than “Angels We Have Heard on High.”  How about the fact that we get “O Tannebaum” instead of “O Christmas Tree”?  Well, without words, what’s the difference?

So, there are pianoish sounds and harpsichordish sounds and a flute-ish sound.  And this would probably be a nice thing to put on as you were falling asleep on Christmas Eve and wanted visions of synthesized sukker plomme dancing in your tête.  Thank goodness I got it for 99 cents.

[READ: December 16, 2014] What in God’s Name

When I grabbed Simon’s Rich’s last story collection, I also grabbed this novel, assuming that, you know, it would be hilarious.  And it is.

This story is set in Heaven, Inc.  The CEO, God, is more interested in watching NASCAR than actuality attending to any miracles or crises on earth.  In fact, we learn that Earth was created primarily to produce Xenon, and that humans were just a pet project of some angels.

Angels, yes.  The entire story is written from the point of view of some angels working in heaven.

We meet Craig who has been in Miracles for a few years.  And there’s a new addition to the team Eliza who spent many years working in Prayer Intake but really wanted to move up to Miracles because it just sounded so much more interesting.

One of the best parts about the story is the way Rich envisions angels performing small miracles every day–adjusting the world without transgressing any of God’s major laws (gravity, physics, that sort of thing).  When an angel goes too far (like when Wilt Chamberlain scored 100 pints in a game because God liked him and the angel wanted to impress Him), that angel gets punished.  So I loved watching the convoluted ways angels did things to make people act or react.  Small things to help avoid getting a paper cut or assist in catching a fish. (more…)

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lastgSOUNDTRACK: SHE & HIM-A Very She & Him Christmas (2011).

shehimI love the packaging of this disc (the envelope with the Christmas letter/liner notes is charming).

I really enjoyed Zooey Deschanel’s singing in Elf, I thought it was really pretty and surprisingly unaffected.  So it’s not too surprising that she stared making records herself.  And M Ward seems like a perfect accompaniment to her slow, rather old school style of singing.

I have a hard time getting into the She & Him records though.  They’re just, yes, too slow for me.  The tempo is perfect for her voice, which is naturally very pure and clean.  And she even has a good crooning style, I just need the songs to be a little peppier.  Or like on “Run Run Reindeer,” I find her version is kind of abrupt, perhaps she doesn’t really hold her notes for very long which I find disconcerting.

I like the first two songs, “The Christmas Waltz,” and “Christmas Day” because they are songs I didn’t know already, so I had no expectations.  “Christmas Wish” is really nice with Ward taking lead vocals.   As for Zooey’s leads, I like “Sleigh Ride” quite a lot.  And their version of “Silver Bells” on ukulele is just beautiful.

This collection of songs is quite nice, if not a little too mellow.  It sets a mood and follows through all the way, which is good.  I really do wish I liked it more.

[READ: December 5, 2014] The Last Girlfriend on Earth

I love Simon Rich, but sometimes I lose touch with just how many books he releases.  So when he was on Seth Meyers the other night I learned that he had a new book out, which was great.  But then I also learned that I missed his last two books!  Jeez.  One is a novel and this one is a collection of short stories.

I have said before that I love Rich’s really short pieces–he is so good with a set up and punchline.  Most of these stories are longer, and they are pretty much all very funny indeed.

The book is set up in three parts: Boy Meets Girl, Boy Gets Girl and Boy Loses Girl.  And indeed, the stories in each section do match up to that general setup (it’s quite clever) although they are not connected to each other.  Several of these stories appeared in the New Yorker and it was fun to read them again and to see them in this new context.

Incidentally, they are making a TV show based on this book, airing in the new year on FXX, called Man Seeking Woman–I hope it’s good. (more…)

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hooeySOUNDTRACK: Songs for Stuffing: A Thanksgiving Mix (2011).

turkey_wide-5d9e8a59bec66b4815045e86e4267da98ecc9263-s1900-c85There are not too many Thanksgiving songs.  But our friends at NPR created this Thanksgiving mix back in 2011.  It seems to lie dormant for much of the year but they bring it back at a seasonally appropriate time.

I have to admit I have not actually listened to it (at least not yet).  But it includes this rather broad selection of artists (designed to please or alienate everyone on Thanksgiving).

A Band of Bees • Amadou & Mariam • The Andrews Sisters • Louis Armstrong • The B-52’s • The Beatles • Ludwig von Beethoven • William Billings • Willie Bobo • Bow Wow Wow • Greg Brown • Cab Calloway • Cyrus Chestnut • Guy Clark • Nat King Cole • Joe Craven • Joseph Curiale • Guy Davis • Champion Jack Dupree • Bob Dylan • The Flaming Lips • Dave Frishberg • William DeVaughn • Rick Gallagher • Dizzy Gillespie • Johnny Griffin • Patty Griffin • Golden Smog • Benny Goodman • Arlo Guthrie • Herb Alpert’s Tijuana Brass feat. Ozomatli • Herbie Hancock • Bill Heid • David Holt • The JB’s • Jay & The Techniques • Louis Jordan • Lambert, Hendricks & Bavan • Paul Lingle • Lyle Lovett • Eric “Two Scoops” Moore • New England Conservatory Wind Ensemble • Harry Nilsson • Tim O’Brien • Lee “Scratch” Perry • Michelle Shocked • Dmitri Shostakovich • Southern Culture on the Skids • Spearhead • Still on the Hill • Rufus Thomas • Traffic • Bobby Troup • Jay Ungar & Molly Mason • Warrant • Ethel Waters • The Wiyos • “Weird Al” Yankovic

You can hear the mix streaming on NPR.

[READ: November 27, 2014] A Load of Hooey

Just in time for Thanksgiving, McSweeney’s has sent us A Load of Hooey.

Bob Odenkirk has been cropping up a lot lately (not as much as erstwhile partner and financially secure comedian, David Cross, mind you), and that’s a good thing.  There’s something about Odenkirk’s persona (crotchety, uptight, white guy) that is usually really funny.  He often elevates crappy sitcoms just by yelling at one of the characters.

This book is a collection of short pieces (most are 1-3 pages), including “unabridged quotations” and poems.  They cover a variety of subjects, but pretty much all upend expectations.  And, as one might expect from Odenkirk, there’s a lot of religious and political jokes as well.

The “unabridged quotations” allow Odenkirk to append something that removes the pomp from some famous quotations.  The poems are usually funny, twisted barbs at some subject or another.

But the main targets are religions and politicians. (more…)

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dk SOUNDTRACK: DEAD KENNEDYS-Demos (1978).

demosI didn’t know these demos existed until I saw them mentioned in this book.  They are obviously not meant for public consumption (Jello sounds like he’s straining on a few songs, like “Kill the Poor). But it’s impressive just how good the band sounds and how fully formed the ideas are.

I also enjoy how some of the songs are played a wee bit slower which changes the vibe of the lyrics somewhat (especially “California Uber Alles” and “Holiday in Cambodia”).

“Kepone Kid”s is a slightly different version of “Kepone Factory” (same basic music but different lyrics.)  “Forward to Death” is pretty much the same.  “California Uber Alles” is much slower and perhaps a a bt more menacing.  “Your Emotions” is pretty similar to the version I’m familiar with.  “Kill the Poor” is also pretty much the same

“Holiday in Cambodia” is the most drastically different.  In addition to being slower, Jello sings the first verses in a flat monotone.  At first I thought that perhaps he wasn’t giving his all, but then it seemed like a deliberate choice–which makes it seems somewhat more sinister a the end–where he goes nuts in the Pol Pot section (even crooning it at one point).

“Kidnap” is new to me–a kind of football chant about kidnapping someone (hard to get the actual lyrics from this demo).  “The Man with the Dogs” has that great creepy echoed guitar opening and sounds a lot like the final product (with Ray having some awesome fun with feedback and noise at the end).  “I Kill Children” is even more disturbing without the “God” quote at the beginning.

“Dreadlocks in the Suburbs” is a reggae song (!).  I can’t really make out the lyrics, but I’ll bet it’s funny.  “Rawhide” is a little sloppier than I’m used to, but it really gets to what they are trying to do with the cover.  “Mutations of Today” has a very strange guitar set up–intertwining guitar riffs (I assume the second is by 6025) and a very long intro before Jello sings (really oddly even for him) about Mexican monster babies.  It’s not a favorite and seems more improvised than anything.  “Cold Fish” is simple punk song.  I’m not quite sure what its’ about although it seems to be about killing someone (and seems more like a goof than a song).

“Forward to Death” appears again.  This later version is a bit more loud and full sounding.   And “Viva Las Vegas” ends this set with a fun romp of a cover–it sounds great and raw in this demo.

So it’s interesting to hear these early versions of their songs.  There’s a few insights (and I understand that the drummer Ted likes the slower versions of those two big hits) and a few surprises.

[READ: November 16, 2014] Dead Kennedys

When I was a young punk I loved the Dead Kennedys. Jello Biafra was THE MAN! And he still is, although I am less politically motivated as I used to be. I have a bunch of his spoken word albums and all of the DK’s output. I distinctly remember buying Frankenchrist on vinyl at the Flea Market in Elmwood Park and feeling nervous as he slowly put the album in a bag while my parents waited for me to be done.

I haven’t really thought about the DKs that much for a few years. I knew there was some kind of litigation about something, but I didn’t care all that much. Then I saw this book and I thought it would be a fun read. And it was.

I have no idea who Alex Ogg is, although he seems to have some kind of insider information about the band. And this book is comprised of quotes from the band members, recollections from others who were there and all kinds of photos.

As the subtitle says, this is the early years. So it really only covers the band’s formation to the recording and release of Fresh Fruit for Rotting Vegetables.

Because Jello was the frontman and was very very outspoken, he was always the main focus of the band for me.  Although I knew the names of the other guys, I never really thought about East Bay Ray or Klaus Flouride or Ted or 6025 or D.H. Peligro.  And honestly I never really thought about the DKs as musicians—I knew I liked the music and that some of it was pretty weird, but I never really thought about it like I did with other bands that I wanted to play. (more…)

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elmer SOUNDTRACK: R.E.M.-Collapse into Now (2011).

R.E.M._-_Collapse_into_Now“Discoverer” opens this disc with ringing guitars–not exact R.E.M. replicants, but familiar.  And then Stipe comes in and the refresher course in R.E.M. begins.  Collapse Into Now proved to be R.E.M.’s final album, and while some of their latter albums weren’t great, Collapse seems to revisit everything that was great about R.E.M. and tries to spread it all over this album.

The blueprints for classic R.E.M. songs form the structure of a lot of these songs, with chiming guitars, and Stipe’s recognizable vocals.  “All the Best” sounds like classic R.E.M. (although Stipe’s delivery is more current sounding).  It also fits in well with the faster songs from Accelerate and is only 2:46.  But it’s “Überlin” that really sounds like a classic R.E.M. song.  That notable guitar style with Stipe’s very specific delivery style.  And then come Peter Buck’s harmonies.  It sounds like a good outtake from, say, Automatic for the People.

Stipe tends to do a lot of his sing-speaking on this album (and i think the one thing I don’t like that much about the album is that early R.E.M. seemed to obscure Stipe’s vocals and lyrics a little bit, giving them an air of mystery.  Whereas the newer records are all pretty well laid bare).  So “Oh My Heart” has Stipe almost speaking his poetry.  It’s got mandolin and Buck’s mildly annoying backing vocals (I’ve never thought that about his backing vocals before).

An Eddie Vedder cameo is utterly wasted on “It Happened Today,” you can barely hear him as all he does is backing crooning near the end of the song (and frankly the “hip hip hooray” chorus is lame).  “Every Day is Yours to Win” is a pretty slow song.  It doesn’t amount to much but the melody is really beautiful.  “Mine Smell Like Honey” is a crazy bad title, but it’s a great rocking song, really hearkening back to classic R.E.M.–ringing guitars and Stipe’s vaguely disguised voice.  “Walk it Back” is another slow ballady type song and is really pretty.  While “Alliagtor_Aviator_Autopilot_Antimatter” is a rocker with Peaches singing and speaking backing vocals.  “That Someone is You” follows up with another speedy track.

I tend to dislike the really slow R.E.M. songs, so “Me, Marlon Brando, Marlon Brando and I” doesn’t do much for me.  The disc ender, “Blue” reminds me of Out of Time‘s “Country Feedback” (I keep waiting for him to say “I need this”).  And the Patti Smith backing vocals recall “E-Bow the Letter.”  “Blue” is meandering and unfocused but Buck’s atmospheric guitars are quite effective, even if the song itself is nothing special.  I don’t quite get the coda of tacking the opening chords of the album on to the end, but whatever.

So basically this album feels like some mostly great outtakes from earlier R.E.M. albums. And there’s really nothing wrong with that (well there would be if R.E.M. was still trying to release a lot of new music).  But since the band was ready to call it quits anyway, it’s a nice recap of their career.  True, I’d rather listen to their earlier records, but you could definitely throw most of these songs into a mix with the earlier ones and they would sound perfect.

[READ: October 25, 2014] Elmer

Elmer has a  chicken on the cover.  It also features this quote at the top of the book: “It’s the Great Filipino Novel, with chickens.”  What to expect from this book?  Well, chickens, obviously, but I never would have guessed what this book contained.  Indeed, this book is pretty mind-blowing (in a good way).

It has a simple premise, which seems comical but is actually taken very seriously: what if chickens became “aware” and learned to speak?  It sounds funny, right, but Alanguilan really explores this issue seriously–if a species of animal that we normally eat suddenly talked to us en masse, how quickly would we deal with this, and what would humanity’s reaction be?  It tackles issues of slavery and racism and pushes them further.  And while the “change” takes place in 1979, it addresses contemporary society with an inquisitive glare.

While there is some humor in it, this is a serious book.

Jake Gallo is a modern chicken (the book is set in 2003–two decades after chickens became “human”).  He has just been rejected for a job, and he pulls the race card (this would be the hilarious reveal that our main character is a chicken).  While he’s feeling sorry for himself, he gets word that his father, Elmer, is dying and he returns home to be with his mother and family.  On the way home he runs into Farmer Ben, the farmer who helped to raise Elmer’s family.  And he is genuinely glad to see Jake.  Jake seems somewhat put off by Farmer Ben and declines his offer of a ride. (more…)

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2014-07SOUNDTRACK: SLOAN-Commonwealth [Heart Side–Chris Murphy] (2014).

commonFor Sloan’s 11th album, the four members of the band each wrote the songs of a side.  I originally thought that they recorded all of the music alone, but that seems to be wrong–and would hardly be a Sloan album).  In conjunction with the album, each guy was given a suit of cards (and an actual deck was made as well).  While this doesn’t necessarily mean the album is very different from their others (it still sounds very Sloan), it seems to have given the guys a bit more room to experiment.

I’ve always had trouble telling whose songs are whose in Sloan, primarily because they all write such different songs all the time.  But also because their voices aren’t radically distinct.  According to Wikipedia, Murphy has written several Sloan songs that have been released as singles, including “Underwhelmed” from the album Smeared, “Coax Me” from Twice Removed, “G Turns to D” from One Chord to Another, “She Says What She Means” from Navy Blues, “The Other Man” from Pretty Together, and “The Rest of My Life” from Action Pact.

 Murphy, like Ferguson writes some really catchy songs here.  They are no connected like Ferguson’s though, and they feel more like discrete songs.  “Carried Away” is another amazingly catchy song that I get stuck in my head for hours.  The song opens with a full sound including strings. The verses are slow. But the chorus just kicks in catchy and easy to sing along with this great line: “She carried on buit she got carried away…”

“So Far So Good” is a slow piano ballad. The chorus swells in a big classic-rock-with-piano way and is also catchy.  “Get Out” is a short rocker, under 2 minutes.  It comes in, rocks hard and gets out. “Misty’s Beside Herself” is another song with an infectious chorus.  It’s a slow ballad, but with a big powerful chorus full of harmonies. It’s really pretty. “You Don’t Need Excuses to Be Good” has rawer guitar sound and sounds a bit more like older Sloan. Although it’s not as catchy as the other songs, there’s something about the sound (how different it is from the other songs) that really makes it stand out (that guitar solo s pretty great too).

Like Ferguson, Murphy knows how to write great catchy songs, and these five songs really showcase his strengths as a writer.

[READ: October 11, 2014] “Care and Feeding of the Amish”

The Walrus‘ summer reading issue presents three stories and two poems in which: “The Walrus presents fresh takes on old crimes.”  Each story is about a crime of some kind, but seemed from an unexpected way.  I rather enjoyed the way the writers played around with the crime genre to make them something very different.  This story is about kidnapping.

I’ve enjoyed Kuitenbouwer’s peculiar vantage point in a number of stories before.  Since this was a “crime” story I was curious about what this title could possibly have to do with a crime.  And then it’s laid out–a bunch of kids in a Montessori class (who are camping out in the woods) are lying in await for an Amish buggy to come by.  (While waiting for the ambush one of them farts, which really sets the tone for the story: “The fart hovered at nose level as the nostalgic clop of horses sounded and a decision became necessary”).

And then the decision is made.  Becky ran out into the street with a stick which made the buggy driver stop.  While Becky was asking him how many Amish it took to change a light bulb, the rest of her class snuck behind the buggy and grabbed the buggy’s little boy occupant.  She then frightened the horses and the buggy took off–with the driver unaware of the kidnapping. (more…)

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trinitySOUNDTRACK: GREASY KID STUFF–WFMU 91.9, New York City (1997-2006).

grekidIn my vast exploration of Greasy Kid Stuff (seriously, at least 15 minutes at work), I found the WFMU website.  It turns out that Greasy Kid Stuff, the radio show broadcast weekly from WFMU from 1997 until 2006.  Then they moved to Portland and couldn’t manage the remote connections properly, so the show ended on WFMU.

The good news is that you can hear weekly playlists of all of the shows from 2000-2006 on the playlist page.  They have playlists that date back to the beginning, but there’s only audio starting in 2000.  The bad news is that you the shows are all archived in Real Audio.  Which, I don’t know, may or may not really work anymore.

But for a historical look at a funny and weird kids show check out the archives, and if you still have Real Player, give it a listen.

[READ: June 17, 2014] Operation Trinity

The Cahill Files were a series of “books from the vault” of the Cahill family.  They were originally released as e-books and some of them have been collected as print books.  The first was Operation Trinity.  And like Vespers Rising, it chronicles the history of the Cahill Family.

The story is broken into three parts, each one chronicling the “life” of a painting.  The painting in question is Jan Van Eyck’s altarpiece (see bottom of post for picture of it). The first part is set in Ghent in 1566.  In reality, the painting was finished in the 15th century and was installed in the Saint Bavo Cathedral.

The story follows Matheus Jacobs, an ordinary, some might say even less than ordinary, boy whose family doesn’t seem to think all that much of him.  Until one day when his mother says that she wants him to become an altar boy so he can protect this altarpiece from the Vespers.  (His father doesn’t think he is worthy, but she disagrees).  He doesn’t know why his mother chose him, or what his mother has to do with anything like this, until she reveals that she can speak several languages and is well versed in the history of the Vespers.  He rides his untrusty mule to the church, where he marvels at the beautiful painting.

He soon meets Father Gerard who sends him on an errand.  While away, he hears a man inciting a mob against the church.  The mob grows incensed, as mobs do, and sets out trying to weed out the Catholics in the village.  Matheus is freaked because they are heading for his home village.  And when he arrives, he sees that the mob is trying to burn down his house.  In the fracas, one of his family members is killed, and the rest of his family insist that he head back to the protect the altarpiece because the Vespers are behind the mob and they are headed for the church. (more…)

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tpk6SOUNDTRACK: BOREDOMS (various).

borepageBoredoms are an experimental noisy band from Japan.  I am completely unqualified to talk about them as I only know snippets of their output.  But I have always been intrigued by them.  Lead dude Yamataka Eye has been the main impetus behind the band.  And it seems like exactly the kind of noise/music one might play if one were horribly bored.

Yoshimi P-We is the longest serving drummer with the Boredoms.  She is the “Yoshimi” in the title of The Flaming Lips’ album Yoshimi Battles the Pink Robots.

Over the years they have gone from outright nose (listen to the track “Bubblebop Shot” from Soul Discharge or “We Never Sleep” from Onanie Bomb Meets the Sex Pistols which is mostly screams and drums) to a more ambient (but still noisy) style. They performed a live show with 77 drummers  on 7/7/07.

They’ve even changed their name to V∞redoms.

Here’s an interesting clip of the band from All Tomorrow’s Parties in 2012, being a lot less noisy but still pretty weird.

[READ: August 11, 2014] Pale Summer Week 5 (§27-§34)

There were a few things in this week’s reading that seemed to contradict other things in the reading.  This is not surprising as Pietsch says that there were things that he knew DFW would eventually change.  The notes at the back of the book (yes, I peeked, bit no spoiler here) say that there were different possible plotlines for some of the characters and even a duplication of a weird character trait.   But it’s funny to see it evolving in front of you.

In §27, Sylvanshine seems to be able to control his Random Fact Inference somewhat–and he seems to be using it rather than being inflicted by it.  This is either a big change or a cool development in Claude’s life.

There is also what I think is an actual mistake: two people have the same number: 907313433 (see §30).

In another “unfinished” issue, the surveillance in §29 is one of those situations that would certainly have been explained in greater detail (or had another scene about it).  I initially assumed they were doing surveillance for deadbeat companies (maybe for new vehicles), but there are indications (in later sections) that perhaps something else is going on, maybe to do with the Glendenning/Lehrl issue that Reynolds and Sylvanshine are talking about in §30.

One thing that I hadn’t explicitly noticed earlier, but which comes out in Cusk’s section below is the idea that “more information is not better.”  While this seems to be very true for their job, it can certainly be a debilitating world view and I wonder if that is at play as well. (more…)

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oloveSOUNDTRACK: “WEIRD AL” YANKOVIC-“Jackson Park Express” (2014).

jpaThe final song on Mandatory Fun is a nearly 9 minute epic which is a parody of Cat Stevens’ style of music.  I would never have guessed that without having read this information online.  However, on listening to it more and more I can hear a lot of Cat Stevens-isms (piano lines and style of chord progressions, although definitely not in the singing style).  I also don’t know if the content is meant to be in reference to the Cat (well, a twisted version of the Cat, of course).

I typically love Al’s longer epic songs, but this one didn’t grab me at first.  Yet after a few listens, I’ve really come to appreciate the twisted humor going on here.   The song starts with some simple pretty acoustic guitars but quickly turns epic with swelling strings and backing vocalists.

The story is about two people on the Jackson Park Express bus in Chicago.  The entire relationship that unfolds is entirely in the narrator’s head.  He bases everything that happens upon the looks she gives him and implies everything through his own looks to her.  As with many Al songs, it starts not just mundanely, but actually sweetly.

I was riding to work on the
Jackson Park Express
Seemed like any other day
Then my whole world changed
In a way I never could have guessed
Cause she walked in
Took the seat right across the aisle
I knew we had a special connection
The second I saw her smile

Pretty nice, right?  And so we see the two communicate (in his mind) nonverbally

She smiled as if to say
“Hello, Haven’t seen you on this bus before”
I gave her a look that said
“Huh, Life is funny, you never know what’s in store
By the way, your hair is beautiful

Again, pretty sweet, until we get to the first wonderfully odd Al line (about her hair)

“I bet it smells like raisins”

And it just gets funnier as it goes on:

Then, she let out a long sigh
Which, I took to mean, “Uh”
“Mama, What is that deodorant you’re wearing?
It’s intoxicating
Why don’t we drive out to the country sometime?
And collect deer ticks in a zip-lock baggie”
I also really enjoyed this punchline:
I gave her a penetrating stare
Which could only mean
“You are my answer, my answer to everything
Which is why, I’ll probably do very poorly
On the written part of my driver’s test”

The song gets really dark and creepy, with (hilarious) lines like:

I gave her a look, that said
“I would make any sacrifice for your love–
Goat, chicken, whatever

And the far more creepy:

Whoa-o-Oh, “I’d like to rip you wide open
And french-kiss every single one of your internal organs
Oh, I’d like to remove all your skin, and wear your skin, over my own skin–
But not in a creepy way”

This is also Al’s most “sexual” song ever, with a line about french kissing (true, it is her organs, but whatever), and this hilarious dramatic pause:

Then, I glanced down, at her shirt, for a second
In a way that clearly implied–
“I like your boobs”

and this other hilarious dramatic pause:

I want you inside me…
oh, like a tapeworm”

But the romance was not to be.  She leaves the bus, despite his nonverbal pleading

Think of the beautiful children we could have someday
We could school them at home, Raise them up the right way
And protect them from the evils of the world
Like Trigonometry and Prime Numbers, oh no
Baby, please don’t go”

There is to be no romance on this bus line.

This is truly a love it or hate it song, but as with most of Al’s epic songs, the more I hear it, the more I love it.  And I can’t wait to see if he plays it live.

[READ: August 3, 2014] On Loving Women

This book is a collection of brief stories about women’s first crushes on other women.  I don’t know how the collection was compiled exactly, but it appears that various women told Obomsawin their stories and she made these fun little comic strip panels out of them.  (Helge Dascher translated them into English–she also did Pascal Girard’s book, that I posted about yesterday).

Each story is named (presumably) after the woman who related it to her.  And each one becomes a simple (but not overly simple) version of the attraction.

Mathilde is obsessed with horses and falls for girls with horse faces (the drawing that accompany this are funny because Mathilda is drawn like a kangaroo or something and the girls she likes are horses.  The ending of this one, about how she learns sign language was very touching.

Indeed, in all of the stories, the women have animal heads and human bodies (but not weird hybrid creatures, just cute cartoony creatures). (more…)

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