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Archive for the ‘Romance’ Category

SOUNDTRACKVOX SAMBOU-GlobalFEST Tiny Desk (Home) Concert #135 (January 13, 2021).

Vox SambouGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The first band on the third night is Vox Sambou a Haitian band recording in Montreal.

There are few performers as “alive” as Vox Sambou, whose energy and soul transcends the virtual space. He starts his performance at Tiny Desk Meets globalFEST with a short moment between himself and his son, overseen by a painting of his mother, highlighting the ways we pass down traditions from generation to generation. Based in Montreal, Quebec, Vox Sambou writes and performs in Hatian-Creole, French, English, Spanish and Portuguese. His music is a joyous fusion of Haitian funk, reggae and hip-hop.

He starts with a call and response with his adorable son.  Then the music starts and doesn’t let up  There’s intense trumpet, lots of percussion and some fantastic dancing from he co-singer.  He introduces everyone, but between his accent and their very French names, I couldn’t pick out a single one.

“African Diaspora” has fast intense and fun rapping and singing in French.  The joyousness of the music is infectious, and i love watching everyone dance.

“My Rhythm” is slower with a pronounced beat.  It’s great watching them all move in synch to that rhythm.  The song pauses for a few seconds until another dancer comes out.  There’s a ripping trumpet solo followed by a cool sax solo with all three up front dancing.  There’s even a brief time to show off the conga players.

“Everyone” ends the set fast and intense.  So much drumming, so many horns. It’s pretty wonderful.

These guys must be exhausted!

[READ: December 16, 2020] Something to Live For

S. read this book last year when it was called How Not to Die Alone.  In her post about it, she comments about what a great title it was.  I agree with that and am not sure why they changed it to the more generic Something to Live For. Although it was the cover/title that grabbed me when I saw it at work, so I guess this new title is good to.  But I think the Die title is better.

Compared to some of the more complicated stories that I’ve been reading lately–where I feel like a lot of background information needs to be filled in–this story was delightfully straightforward.  It was an enjoyably fast-paced read and resonated in a surprisingly powerful way.

Andrew is a middle aged British man.  He had worked in a public service role for many years until his position was terminated.  His boss helped him find a new job in the public service field.

This new job is absolutely fascinating to me and I have to wonder if we have such a job in the States.  Andrew’s job is to go to the house of a recently deceased person.  These are people who died alone and apparently have no contacts.  Andrew’s job is to determine if the deceased has someone to contact to come to (and pay for) the funeral or if the deceased has enough money in their apartment to pay for the funeral themselves. (more…)

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SOUNDTRACKOWEN PALLETT: Tiny Desk (Home) Concert #113 (November 17, 2020).

I know Owen Pallett from their performance at Massey Hall.  It was beautifully layered orchestral pop.

Typically they loop the songs to make them bigger, but or this set, Owen changed things up.

Owen recorded four songs in multiple stages on different instruments: first, they played acoustic guitar and sang; then they performed the songs again, but this time on violin and viola; finally, Owen layered the recordings in post-production, not really knowing what the final versions would sound like. They explain the whole process, charmingly, between songs.

The setlist here is complete different from the one from Massey Hall.  Although like a that show, he mixes some songs from his first album (released as the band Final Fantasy) as well as he official solo songs.

From a bedroom in Toronto, Owen traverses their musical history, opening with a dreamy song from 2005’s debut album (as Final Fantasy), Has a Good Home, 

His guitar melody is beautiful and the layers of strings make this song feel big and pastoral.  His voice is gentle and lovely.

Before the second song, “Cliquot,” he says that in 2007, he went to Quebec with the band Beirut to write songs and record his EP Spectrum, 14th Century. and Beirut’s album The Flying Club Cup. Zach Condin gave him an instrumental and asked Owen would write a melody, lyrics and sing lead.  They don’t play it live probably because it’s really really gay and Zach doesnt want any more werotci fan fiction writen about the two of them.

Beautiful string melodies in between verses.

“Perseverance of the Saints” is from Owen’s latest record, Island. Here it’s transformed from arpeggiated piano to guitar, and I love the tone it sets.

It is so gentle with swirling strings and a gentle melody.

Owen not only performed each instrument in separate takes, but also did all the production work: recording, filming and editing. A remarkable talent captured in a candlelit bedroom.

“Song for Five & Six” is from his 2014 album In Conflict.  He says when he loops live things to end to get “overwritten and annoying,” so he’s looking forward to playing this with arpeggiated guitar instead of synth.

This song was written about an incident he saw on the Orkney Islands.  After playing some kind of ball game, the men and boys, covered in mud, would climb on the back of a flatbed truck and ride through town banging sticks on the side of the truck.  He thought it was a beautiful image and probably the only pure thing that the men have ever done.

He sings in a gentle falsetto and there’s some gorgeous strings.

[READ: December 19, 2020] “The Snowstorm”

This year, S. ordered me The Short Story Advent Calendar.  This is my fifth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

You know the drill by now. The 2020 Short Story Advent Calendar is a deluxe box set of individually bound short stories from some of the best writers in North America.

This year’s slipcase is a thing of beauty, too, with electric-yellow lining and spot-glossed lettering. It also comes wrapped in two rubber bands to keep those booklets snug in their beds.

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

It’s December 19.  Alexander Pushkin, author of Eugene Onegin, died in 1837 and so was unreachable for comment. [Click the link to the H&O extras for the story].

I have not read any stories by Pushkin before and I really enjoyed this one (translated by T. Keane).

Set in 1811, this story revolves around a young woman who has fallen in love with a young man whose station is far beneath her.  And such great quotes!

Maria Gavrilovna had been brought up on French novels, and consequently was in love.  The object of her choice was a poor sub-lieutenant in the army, who was then on leave of absence in his village.  It need scarcely be mentioned that the young man returned her passion with equal ardor, and that the parents of his beloved one, observing their mutual inclination, forbade their daughter to think of him.

They wrote to each other every day.  At last they decided that they would run off and get married in secret.  They would then hide away for a time and come back to throw themselves at their parents’ feet for their blessings. (more…)

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SOUNDTRACK: MICHAEL KIWANUKA: Tiny Desk (Home) Concert #112 (November 16, 2020).

Michael Kiwanuka was on my radar for a few years, although I never actually knew who was singing these songs that I liked.

His previous album Love & Hate was hugely praised (although I missed it that year).  It and his most recent album Kiwanuka are fantastic. His songs are big with lots of electric guitar parts.  They are catchy but complex.  And his voice is just amazing–somehow quiet and powerful at the same time.

The warm texture of his voice and tenderness of his soul belie the depth of his songwriting, which ranges from sociopolitical works to songs revealing the inner chambers of self-exploration.

For this Tiny Desk (Home) Concert, Kiwanuka performs

from a “rainy London” flat that’s dimly lit with a vintage feel.

Kiwanuka plays five songs, but they are very different from the album versions.  Three of these songs are played on acoustic guitar.  This shows that the kernel of these songs is wonderful without and soaring electric guitar.

The Mercury Prize-winning musician evokes an all-encompassing softness in spirit as he leads viewers into the “Light,” the first of five songs in his Tiny Desk (home) concert.

The first two songs “Light” and “Hard To Say Goodbye” (both from Kiwanuka) are played on acoustic guitar.  They are pretty and gentle, warm and inviting.

He switches to the electric guitar for “Hero” (also from Kiwanuka).  On the album, the song is broken into two parts (I never realized this).  You can hear the difference in the parts very distinctly here as part two sounds really different from the first.  He stays with the electric guitar for “Cold Little Heart” (the opening track from Love & Hate).  You can hear the consistency in his songwriting with this earlier track.

He returns to Kiwanuka for the final song, “Solid Ground.”  But he plays this song on an organ–a beautiful rich sound.

Even with the different instrumentation, the songs retain their essential sound.  This set offers wonderful insight into Kiwanuka’s performance.  (That’s Kiwanuka on stage in the movie Yesterday, by the way)

[READ: December 10, 2020] “Vera Something”

This year, S. ordered me The Short Story Advent Calendar.  This is my fifth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

You know the drill by now. The 2020 Short Story Advent Calendar is a deluxe box set of individually bound short stories from some of the best writers in North America.

This year’s slipcase is a thing of beauty, too, with electric-yellow lining and spot-glossed lettering. It also comes wrapped in two rubber bands to keep those booklets snug in their beds.

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

It’s December 10.  Adam O’Fallon Price, author of The Hotel Neversink, would walk five hundred miles, but not a step further.  [Click the link to the H&O extras for the story].

This story felt very different from the other ones so far.  I was certain that it was an old story.  It is set in the 1950s and I believed it was written then and that’s why it felt so different.  It wasn’t, it is very current.  Then I read in the link above that this story was a chapter from the novel The Hotel Neversink.  However, this chapter was removed from the novel because it didn’t quite fit.

I don’t know if Adam tweaked this into a short story or if it remains as it was.  But it feels slower, yes, like from a novel.  And although it felt slower, it was in no way less engaging.

Sam met Vera at the Hotel Neversink in the Catskills–during a singles event.  They were both from New York City, in their twenties and more or less pressured by their parents to find a mate.  They had a surprisingly good time together.  Sam had taken her picture (with his Polaroid) and she had written her phone number in the white part. (more…)

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SOUNDTRACK: GERMS-GI (1979).

In the middle of this graphic novel, the main character Bina says she is listening to the Germs.  Her friend Darcy says “classic.” 

Germs were a seminal LA punk band.  They released one album before their singer Darby Crash killed himself.  Their guitarist Pat Smear has since played with Niravana, Foo Fighters and many other bands.  Belinda Carlisle (yes of the Go-Gos) was briefly their drummer (she went by Dottie Danger).  She was replaced by Don Bolles.  And their bassist Lorna Doom, was one of the first women in the punk scene.

This album is 38 minutes long but that’s with a 9 minute live improvised song tacked on at the end.  Otherwise these songs are short and fast.

“What We Do Is Secret” opens the album with a statement of purpose.  It’s less than a minute of fast drumming roared vocals and the title repeated twice.  “Communist Eyes” plays a standard punk melody in the verses and an even faster chorus.  Pat Smear plays around with some scratchy noises but it’s mostly just fast fast fast.   “Land Of Treason” also has a simple catchy melody in the verses.  Even though Crash’s vocals aren’t always clear, they are mixed very well so if you listened, you could probably make out most of the words.

“Richie Dagger’s Crime” is the first song where Smear’s guitars really stand out.  He plays lead riff and then in the middle of the song, it’s only Lorna Doom’s bass holding the melody together while Smear plays some leads through the verses.

“Strange Notes” has some ringing guitars notes and quick little improv solos that keep this pummeling song nicely off kilter.  “American Leather” is just over a minute and Don Bolles’ galloping drums pretty much never stop.

“Lexicon Devil” was the name of their first EP.  The verses have a fun Ramonesy beat verse that feels especially punk.  “Manimal” is a slower more menacing song with a nasty lead guitar line.  This song even takes a breath before launching into the faster part full of Darby Crash’s snarls.

“Our Way” is another slower, more mancing song with a the bass sounding more prominent over smears chords.  “We Must Bleed” has a really fast descending guitar melody that introduces the song and serves as the chorus. It also hangs around at the end of the song. The song is 2 and a half minutes in total but the end is one minute of the band racing through that four note melody, sometimes falling  apart a little but plugging on.

“Media Blitz” starts side two abruptly has an abrupt opening with vocals and a brief pause before the song takes off nonstop for a minute and a half.  There’s some samples from TV in the song

“The Other Newest One” This chorus features a four notes and a pause as Darby’s voice rings out over the brief silence: “you’re not the first / you’re not the last”

“Let’s Pretend” is a bit more staccato in the bassline in and reminds me of a conga from the cartoons.  Five notes and a thump.  Once again darby stops singing early to let he band jam out the riffs for another 40 seconds to the end.

“Dragon Lady” has a short drum solo from Bolles as the intro.  It leads to one of the poppier melodies on the album. Then “The Slave” ends the disc (sort of) with a one-minute rumbling that’s all bass and jagged chords on top.  When Darby stops singing briefly, Smear’s guitar bursts forth as if Crash was in the way. Then it abruptly ends.

The disc ends properly with “Shut Down” a 9-minute live song that I have read was typical of how they ended their shows.  Lorna Doom plays a simple, slow bluesy riff on the bass. The drums follow along and Pat Smear makes all kinds of lead noises –solos, feedback, crashing chords while Darby mumbles, screams and rants about wanting your soul and wanting control and being an Annihilation Man.

Who knows what the Germs would have done next, but with one album, their legacy is secure..

[READ: October 21, 2020] All Together Now

This is a follow up to Larson’s book All Summer Long.  That book was a fun story about friendship, distance and guitar playing.

As this story opens, Bina and Darcy have been practicing with their band Fast Fashion [which is basically what Depeche Mode means], but they decide they need a drummer.  They meet up with a boy in their calls called Enzo.  He’s a drummer and very robotic.  He’s very good and he likes their songs, so they agree to be a band. But he hates the name Fast Fashion, so they change it to The Candids.

After a few practices, Darcy and Enzo start dating.  Then Enzo starts making some suggestions for changing Bina’s songs.  And Darcy agrees with him.  Now Bina’s losing her best friend to a boy, just like she lost her previous best friend Austin to a girl.

Then Darcy texts her that the band is moving on without her (even though it was her band!).  This new band gets the best band name yet: AC/Darcy.  But that means that Darcy and Bina have basically broken up and are not speaking to each other. (more…)

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download (62)SOUNDTRACK: NILÜFER YANYA-Tiny Desk (Home) Concert #54 (July 22, 2020).

download (61)Nilüfer Yanya is a pretty mesmerizing singer.  I feel lucky to have seen her live and would like to see her again.

In the meantime, this Tiny Desk (Home) Concert will have to do.

There’s something unique about the way Yanya constructs songs.  And her singing voice is really unlike anyone else’s that I’ve heard.

For this Tiny Desk (Home) Concert, she plays four songs.  Three from her 2019 album and one new one.  All four are different from when she played Tiny Desk last year.

In her previous Tiny Desk Concert and when I saw her live, she had a full band. But for this one, it’s just her guitar and her voice.

For “Heat Rises,” she plays spare guitar lines and quiet chords as she sings in her unique style.  As the song moves along she adds high notes to the chords–fleshing things out in a subtle but effective way.

After performing “Heat Rises,” Nilüfer Yanya pauses to say a few things about herself, something we’ve been asking artists to do for these Tiny Desk (home) concerts.

“One of the things that’s been on my mind a lot is the racism and violence and injustice going on towards Black people and people of color, not only in America but here in the U.K. and all over the world. As a person of mixed heritage” — Nilüfer’s father is Turkish and her mother is of Irish and Barbadian descent — “this issue is something close to my heart.” Nilüfer urges us all to see the hurt being done. It’s the only way forward.

She then plays “Paralyzed,” a song that she says relates to the issue.  She’s never played it live before.  The song has a cool four note chord progression followed by a sinister feeling five note riff.

Bob Boilen writes: “I hear these words so differently now:”

I hear strained screams from Heaven singin’
“save me”
This can’t be okay
Shadow’s lyin’ here
And it’s blocking out the light
(I am paralyzed)

The above part of the song turns musically bright as she sings those dark lyrics.

“Day 7” is the new song.  She sings in a similar style to the one she uses on “Baby Luv” where she sings with an accent or inflection that is impossible to place but is very compelling.  This song also features a simple but unusual riff as she builds the song using all of the neck of her guitar (the chords she plays during the “go go” section are so interesting).

She ends the set with the final track from her album, “Heavyweight Champion of the Year.”  This is the only song from this set that she played when I saw her.  I was blown away by the song when I saw her live because the song mixed quiet and range perfectly.  It’s more subtle here and demands that you listen closely to the words.

[READ: July 20, 2020] “Nobody’s Business”

I’ve wanted to read more from Jhumpa Lahiri for years–she’s yet another writer who I feel like I need more stories from.  And I really liked this story a lot.

The story is written in the third person.  It’s about a woman named Sang.  She is living in Boston, having just dropped out of a graduate program from Harvard.   Sang has two roommates, Paul and Heather.

What was so interesting about the way that it was written is that it seems to be Sang’s story.  She is, after all, the person with all the action.  But by the end of the story it becomes more about Paul.  I thought that shift of perspective was quite engaging.

Sang is Bengali and every so often she would receive a call from a Bengali man who was courting her. These men had heard that she was pretty and smart and unmarried at thirty, so they were trying to arrange something with her.  Sang was never rude to these men.  She even met some of them.  But Sang was very serious about her boyfriend, Farouk, who was presently in Cairo.  That’s not a ruse, she is really dating him. (more…)

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SOUNDTRACK: THE ROCK & ROLL DUBBLE BUBBLE TRADING CARD CO. OF PHILADELPHIA-19141 – “Bubble Gum Music” (1968).

19141I thought it was a very clever idea posting about bubblegum music for this book.  If only I had known how much music was actually mentioned in the book and, ultimately, how inappropriate these songs are to the book–in tone and content.

However, I have really enjoyed discovering some of these songs that i’d never heard of before.  Like this one.

This might be may favorite bubblegum song of all.  In addition to being catchy (obviously) with a simple swinging horn melody, the lyrics are hilariously self-referential.

A bubblegum song about bubblegum songs which mentions some of the most popular bubblegum songs.

Since most of the bubblegum songs were written by the same few people (under different band names), it’s very likely that they are singing about some of their own songs.

The stupidly catchy chorus:

Give me more, more, more Of that bubble gum music
Makes me feel so good Oh, I never want to lose it
Let me dance, dance, dance To that bubble gum music
If you really want to turn me on

which is of course repeated about ten times.

But then come the lyrics which mention a while bunch of bubblegum hits

Tommy Boyce and Bobby Hart wonder what she`s doin`
While the Monkees are singing for Valleri
Simon says take you down to LuLu`s
You`re gonna feel yummy, yummy, yummy

The second verse is even funnier because it turns into a kind of diss track

Well the Grateful Dead just leave me cold (ooo!)
And Herbie Alpert makes me feel too o-old (feel too old)
I can groove to rhythm and blues (rhythm and blues)
But if I had to choose, if I had to choose If I had to choose,

All of this wrapped up in one of the most ridiculously lengthy band names ever.

Spectacular.

[READ: June 29, 2020] Bubblegum Week 8

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Hitting Back on the Brickhorse

With this week, the book comes to an end and I can’t help but feel disappointed by the ending.  At some point a few years ago I realized that endings are often the worst part of a book.  Endings can’t ever do what the reader really hopes will happen, especially if the reader has a different idea of what the book is doing.  I must have had a very different idea of what this book was a bout because I left that last page with so many questions–questions that Levin clearly had no intention of answering.

Like what if the entire book from after Belt gets his cure until the very end is all in his head.  He is just crazy and none of these things happened.  There are no cures.  Everything that seems off about his world is because his perception is skewed.  He has the wrong date and perpetrator of 9/11.  He misunderstands The Matrix, he believes he was given hundreds of thousands of dollars from the creator of The Matrix.  His father is dating the mother of the wife of an author that he likes.  But really he’s just in Costello house imagining he’ll meet up with Lisette someday.

I don’t really think that’s what happened, but there’s so much left out after the ending, that I have to fill it in somehow.

I was particularly interested in this first section being called AOL.  There has been no real explicit nudge from the author that there is no internet in the book, but this title was clearly a wink at us.  Particularly since Belt doesn’t know what it stands for either. (more…)

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indexSOUNDTRACK: LARA DOWNES-Tiny Desk (Home) Concert #29 (May 30, 2020).

laraI don’t know Lara Downes, although from the picture you can see that she is a pianist, obviously.  But she also works in communities with young people–something she has been unable to do since the coronavirus took over.

This Tiny Home Desk is visually more interesting than most of the others, because she has a mobile cameraman, her son Simon, who walks around and zooms in on her fingers and elsewhere.

She plays three songs

all from her recent album Some of These Days… They are strong statements that resonate in new ways. From Margaret Bonds, one of the first celebrated African-American women composers, there’s “Troubled Water,” a poignant riff on the spiritual “Wade in the Water” that Downes says takes a “journey from classical virtuosity to gospel, jazz, blues and back again.”

It has a very fluid feel but is also quite dark.

The next piece surprised me not because of the song but because of the arranger.  Samuel Coleridge-Taylor, yes the author, created this arrangement of “Deep River.”  I’m surprised that there is nothing else said about him.  I had no idea he was musical as well.

She says there are many interpretations of the river in this song.  For some, it is crossing over into the afterlife.  In the time of slavery, it meant crossing to freedom.  For Downes it represents “crossing over” the coronavirus crisis, to something better.

She is looking to raise money for FeedingAmerica.  If you go to her site and donate you can get a signed copy of her new album.

The final song is Florence Price’s “Some of These Days,” which she sees as a vision of better times ahead.  It is a beautiful slow piece.

The set ends with a jump edit to her snuggling her beloved pooch, Kona.

[READ: May 31, 2020] “Two Nurses, Smoking”

This story is broken up into titled paragraphs.  The title often works as the first part of the first sentence.  At first I didn’t understand this technique, but by the end it made a lot of sense.

The story is indeed about two nurses smoking.

Gracie grew up living in a motel that people paid for week by week.  A high school counselor encouraged her to go to nursing school.  Marlon grew up on the Shoshone reservation then his mother moved East and married a man who drank as much as she did.  He had been in the war and has a scar from an IED. (more…)

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SOUNDTRACK: NICK HAKIM-Tiny Desk (Home) Concert #12 (April 22, 2020).

I had a mixed reaction to Nick Hakim”s Tony Desk, although the blurb writer says he loved it.

Whenever I’m asked to name my favorite Tiny Desk concerts, Nick Hakim’s 2018 performance sits near the very top. He and his four bandmates reset the bar for intimacy at the Desk with their hushed groove.

Hakim plays three songs from his upcoming album WILL THIS MAKE ME GOOD

from the corner of his dark bedroom with a keyboard, guitar and stacks of audio components.

His vocals on all three tracks are quiet and echoing, as if he is whispering down a long hall.  In fact all of the music sounds muted and soft, with a feeling of hazy smoke floating around,.

“QADIR,” is a haunting dedication to a fallen friend.  He plays guitar–mostly slow muted echoing guitar chords.  When the song ends, he activates a mini applause effect box which is pretty funny.

He takes a few loud slurps from his drink and gives a big “ahhh,” before starting the next song. For “GODS DIRTY WORK” he switches to the keys.  His singing style is exactly the same, although the song may be a little slower.

He adds a little more fake applause and then a somewhat creepy echoing laughter as he switches the drum beat for “CRUMPY.”

Honestly, all three songs sound a lot alike and seems really slow and hazy. It’s weird how upbeat and smiling he is, in contrast to the music.  I wonder how he makes everything seem so quiet.

[READ: April 15, 2020] Nicotine

I really enjoyed Nell Zink’s two other novels, but somehow I missed this one entirely when it came out.  I couldn’t imagine what it was about with that title and boy I never expected it to go where it did.

I actually had a slightly hard time getting into the book. That may have been because it was Quarantine and it was hard to ficus or it was because the opening of the book was so puzzling.  And yet by the end I was totally hooked.  But the beginning:

A thirteen year old girl stands in a landscape made almost entirely of garbage, screaming at a common domestic sow.

Then a white man comes and takes the girl away.  Her name is Amalia. (more…)

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SOUNDTRACK: TARRIONA ‘TANK’ BALL-Tiny Desk (Home) Concert #3 (March 26, 2020).

Tiny Desk loves Tank and the Bangas, who won the 2017 Tiny Desk Contest.  Of the five winners so far, they have certainly had the most success that I’m aware of.

I really enjoy their attitude, although their music is surprisingly repetitive for the amount of creativity in the band.

This Home Concert might be entirely improvised (there’s not “setlist” provided).  Tank seems to be riffing around a refrain of “don’t go out to the cookout.”  She is playing a rather cool electronic melody on “a version of Korg’s music software called iKaossilator.”

The rest of the music comes from percussive instruments that include a suitcase, [that she received when she was nominated for a Grammy.  She didn’t win but she got a suitcase, which is just as good], a jar of cocoa butter and a cassette box.

The middle of the song has a lengthy rap/poem/freestyle.

Mostly she is trying to convince everyone to stay home, bitch.  She even modifies the State Farm theme: like a good neighbor, stay over there.

It’s OK to be alone by yourself, eat by yourself, chill by yourself, read by yourself.

It is clear that she is having a really good time–laughing, clapping along.  She also says “I’m obviously practicing social distancing cause my group is not here.”

[READ: April 13, 2020] “The Other One”

I really liked the way this story was constructed.

When Heloise was 12, in 1986, her father was killed in a car crash.

Her father was supposed to be in Germany at a conference. But the crash happened in Paris.  In the car with him were his mistress (who also died) and her friend (who survived).

Heloise had false memories about this event.  She was sure she went with her mother to view the body (that never happened). (more…)

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  SOUNDTRACK: CIMAFUNK-Tiny Desk Concert #952 (February 28, 2020).

Tiny Desk Concerts have shown me how much I enjoy Afro-Cuban music, a genre I really didn’t know much about previously.

The fact that Cimafunk incorporates elements of funk makes his even more fun.

The band plays three songs.

From the moment Cimafunk and his band start their feathery intro to “Alabao,” it’s clear that something different is about to go down. Lead vocalist Cimafunk (Erik Rodríguez) has mastered the mash-up of Cuban soneos (vocal improvisations) and deep, soul-singing over music that I swear could have been played by any of the funk bands I saw back in the ’70s.

Cimafunk has a terrific voice–deep and resonant, able to rap and scat and make interesting vocal asides.  But he also shares the lead on “Alabao” with Ilarivis Garcia “Hilaria Cacao” Despaigne  who takes a verse and then plays trombone!

The middle of the song has a great stomping section with heavy bass from Ibanez Hermida “Caramelo” Marrero  and congas from Mario Gabriel Mesa “Machete” Meriño.

You can hear the funky guitar chords from Diego “Bejuko” Barrera Hernandez as the song draws to a close.

The next song “Cocinarte” opens with that fun Afro-Cuban chord progression on the keys from Juan Marcos “Firulais” Rodríguez Faedo (which I guess is called guajira).

the very traditional guajira piano riff on “Cocinarte” transitions to a James Brown-styled funk groove so easily, it sounds like they were made from the same root.

Backing singer Miguel “Miguelo” Piquero Villavicencio plays a percussive sliding instrument and Cimafunk adds in a fast rapping section.  Everyone sings along on the fun chorus especially “Hilaria Cacao” and “Miguelo” (who makes the kissing sound later in the song).

The band breaks things down into the funkiest of bolero-swing only to have it explode into another funk romp, powered by lead singer Cimafunk’s reimagining of 1960s soul singer Otis Redding and Cuban icon Benny Moré.

The final song “Me Voy” opens with great guitar work from “Bejuko” before it turns into a party from start to finish with everyone singing, a funky bass and great drums from Raul “Dr. Zapa” Zapata Surí.

Cimafunk proves that he’s a great front man as the song nears the end and he sings really fast, ending in a big “whooo!”

It’s really fun watching “Caramelo” slide his hands up and down the neck to make grooving bass sounds and when “Miguelo” brings out the whistle, you know it’s a party.

their tune “Me Voy” raises the roof and wakes the dead, with a deep Afro-Cuban, funk-party groove. This time, they turned the Tiny Desk into the hippest Cuban dance spot on the East Coast.

I don’t know what these songs are about, but I don’t care, because they are super fun.

[READ: March 22, 2020] “Out There”

This story is about dating.

But in addition to the normal pitfalls of modern dating, Folk has incorporated blots into the mix.

The narrator says that after a bleak Thanksgiving back home in Illinois, she returned to San Francisco and downloaded Tinder, Bumble and a few other similar apps.  She says she never liked the idea of ordering up a date the way you’d order an Uber, but now the blots had really complicated things.

I thought that perhaps I was too out of touch with this story and that blots were some thing I hadn’t heard of.  But no, blots are (as far as I know) specific to this story. They are biomorphic humanoids.

Early blots were easy to identify–too handsome, tall and lean, they were like models with no sense of humor.

She met one at a party.  Her fiend had invited her to the party to beta-test the blots without her knowing about them.  Roger was “solicitous, asking about my family, my work as a teacher and my resentment toward the tech industry.  He seemed eager to charm.”  But she felt spotlighted by this attentiveness and was not charmed by him. (more…)

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