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Archive for the ‘Sex’ Category

SOUNDTRACK: THE DUCKWORTH-LEWIS METHOD-The Duckworth Lewis Method (2009).

This is a CD released by the combined forces of Neil Hannon of The Divine Comedy and Thomas Walsh of Pugwash.  And if that weren’t enough of a sales pitch, the title of the band is a method of calculating cricket scores!  And even more…in concordance with that, this CD is largely about cricket.  Huzzah!  Buncha sellouts.

I don’t know a thing about cricket, but I know about great orchestral pop, and this disc has it in spades.  Some of the more obvious cricket songs are even understandable to non cricketers (the themes of “Jiggery Pokery” are familiar to anyone who has failed in a sport–and musically it sounds like a silent film soundtrack).

“The Age of Revolution” begins with an olde-fashioned soundtrack as well (jazz swing, including tap dancing) but quickly jumps into a dancey discoey verse (the two soundtracks blend surprisingly well in the chorus).  And the revolution?  Well, it has something to do with cricket.  Next, “Gentlemen and Players” is a wonderfully Divine Comedy-esque track complete with harpsichords.

“The Sweet Spot” is another discoey dancey track with some funky bass work (and innuendo whispered vocals).  And “Rain Stops Play” is a fun musical interlude.

“Mason on the Boundary” is the first track that seems distinctly Pugwash-y.  Hannon and Walsh have similar singing styles, and I find it hard to know who is who sometimes.  But this track is clearly Walsh’s and it’s very nice indeed.  Similarly, “Flatten the Hay” has that distinct Pugwash XTC/Beach Boys vibe and it’s quite good.

“The Nighwatchman” is also a very DC type song (it even sounds a bit like “The Frog Princess” but pulls away before being a repeat of that great single by introducing some very 70s sounding strings).  The rest of the disc follows in this same wonderfully orchestrated pop feel.  This a great record that, as far as obscure bands that get no statewide attention go, is top notch.

Oh, an it’s even more fun with headphones!

[READ: October 9, 2010] Skippy Dies

Wow, there’s a lot going on in this book.  It’s exhausting just trying to think of all the topics covered: boarding school life, failed romance (two big ones), life as a teacher, the appeal of pop singer Bethani, the Catholic priest sex scandal, drugs of all kinds, sneaking into a girls’ school, World War I, institutional cover ups, M-theory–which is pretty much the entire universe, and donuts.

But let’s start at the beginning.  Yes.  Skippy dies.  In the first couple of pages.  And what’s fascinating about this is that we don’t care.  I mean, in the scene where he dies, he’s not even the major character.  But then Skippy turns out to be more or less the glue of the book once the story proper begins.

Skippy resides at Seabrook school in Dublin (the best, most prestigious Christian academy in the country–sorry Gonzaga).   His roommate is Ruprecht (perhaps the strangest major character name I’ve read in a long time).  Ruprecht is a large boy who is incredibly smart (he will single-handedly raise the school’s average on the year’s final exams).  He is a computer geek who is obsessed with aliens and SETI.  And he hopes to be able to communicate with the other world by using techniques suggested in M-Theory.  The book does an admirable job explaining M-theory and string theory.  I’m not going to take up space here, but there’s a fine description at Wikipedia (or, if you don’t like Wikipedia, here’s an academic explanation that is written for the lay person).

Anyhow, Skippy and Ruprecht are two of a few dozen boys who reside full time at the school.  (Most of the other kids are day students).  And they have a cadre of half a dozen friends that they hang out with who make jokes at each other’s expense.  It’s a very realistically written entourage.  Mario is Italian and claims to have had sex with many many women (thanks to his lucky condom which he has had for three years).  Dennis is the ballbreaker.  He’s the abusive one (but by most standards, he’s not a bad guy).  And a few other hangers on.

This story of dorm life is a good one.  The boys are funny, their stories believable, even if they are all eccentric in their own way.  And then, one day, Skippy sees a girl playing frisbee at the girls’ school across the way (Ruprecht has a telescope which he uses for the stars, while eveyrone else uses it for the girls’ school).  And Skippy winds up becoming rather obsessed with the unknown “frisbee girl.”

This girls’ school plays a part in the story in another way too.  Carl and Barry are the Seabrook’s thugs.  When Barry hits upon the idea of selling ADD meds to the locals (as diet pills), it’s the girls’ school that he mostly preys on.  For yes, this story is also about drugs. (more…)

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SOUNDTRACK: THE VIOLET ARCHERS-Victoria, BC, October 2005 (2005).

This live bootleg comes from the Rheostatics Live website.  If The Violet Archers were to become a huge internationally famous band (which, let’s face it, they’re not), this would be an awesome bootleg to have.  It’s from a show before their first album was released, and, if the stage banter is to be believed, before they’d even thought of a name for the band.  (There’s a joke that they wanted to call themselves The Gay Apparel, which is awesome).

Indeed, I assume that this show was recorded in 2004, not 2005 as listed online.

So, this show seems like it’s recorded in front of about 20 people.  The recording quality isn’t ideal (the drums sound pretty dreadful) but it conveys the spirit of the show very well.

The first two songs are just Tim and his acoustic guitar (“Simple” sounds great in this context although “All the Good” works better as a band number).  Then the band comes on.  Ida Nilsen is not with them yet, but the band sounds great together and the songs are fully formed (the album is said to be coming out in the next spring).

It’s a great show and Tim Vesely sounds a lot more like he did with the Rheostatics than he does on the regular album.  I guess the live setting brings out the old voice from Tim.  And I would be remiss if I didn’t mention the guitarist with the great name: Yawd Sylvester.  Outstanding!

[READ: September 28, 2010] “Imperial Bedroom”

This piece is about privacy. It was written 12 years ago, when the fear of the loss of privacy was in its infancy.  And Franzen makes a very convincing case that we were (and I assume still are) overreacting in a big way to fears of privacy loss.

He opens by noting that the panic about privacy is all the rage, excepted that the public doesn’t seem to be genuinely alarmed.   He sets his argument on the backdrop of the Clinton/Lewisnky Starr Report. And what he bemoans is that this most private of information is coming out of the most public of offices (and the most imperial of bedrooms).  [With the valid corollary–who is ever going to run for office if this kind of shit is going to be made public on such a grand scale?]

He gives us a basic history if the “right to privacy” which he says legally is a tough concept.  Because whatever you call the various forms of invasion of privacy, legally they often fall into other areas–trespass, defamation or theft.  What’s left is emotional distress, which is always a nebulous concept. (more…)

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SOUNDTRACK: THE VIOLET ARCHERS-Sunshine at Night (2008).

This is the second Violet Archers CD.  It’s a fantastic collection of mellow songs.   “You and I” is a delightful acoustic guitar and vocals song (and Vesely’s voice sounds great: soft and delicate without being whiny).  “Insecure” features the vocals of Ida Nilsen (a great voice which works wonderfully with Vesely’s songs).  It also has a wonderful trumpet solo (!) (which consists of only a few notes repeated but which is totally great).  It sounds a bit too similar to Siberry’s “The Speckless Sky” but it wins out with its own identity by the end.

“Transporter” is an electric track (still mellow though).  Vesely’s delivery is great on this, with unexpected delays making it just off the beat.  Although “Tired” (we can tell by the titles that Vesely is not a “Party On” kind of guy) rocks much harder than you’d expect for the title, it’s still nothing like a hard rock song.  “Sunshine at Night” continues in this louder vein, but again, Vesely’s voice is soft, so even a louder song doesn’t rock hard.  This has some great harmony vocals.

“Suffocates” returns to the upbeat acoustic style while “Truth” is its cool minor chord downbeat companion.  “Themesong” is a cute, more upbeat track that finally mentions a violet archer.  “Don’t Talk” is the only song that builds from a standstill (as opposed to just starting) and the drums and power chords make it feel like it’s a bid for commercial viability.  And the disc ends with “Listening,” a quiet lullaby of a song that showcases’s Vesely’s falsetto.

The Violet Archers still tour and there are some downloadable shows available on the Rheostatics live website.  And, of course, Tim was super nice, so let’s hope for a left field smash hit on their next disc.

[READ: September 29, 2010] “Anti-Climax”

This piece is from The Critic at Large section of the New Yorker and it seems to be a kind of Books redux section.

I enjoyed this piece more than I had a right to enjoy a thirteen year old article about sex books.  Strangely enough it begins with a comment about televisions in airports (which I agree with JF that they are the devil and are unavoidable and make it really hard to read).  And I cannot even imagine that 89% of air travelers believe that the TVs make “time spent in an airport more worthwhile” (although you know that is one of the more nebulous survey questions)

But this topic segues into the matter at hand: sex books.  He notes how he is also at odds with the norm when Men’s Health says that lingerie is the US male’s favorite erotic aid.  And I can’t believe how in tune I am with JF Franzen’s comment:

What I feel when I hear that the mainstream actually buys this stuff is the same garden-variety alienation I feel on learning that Hootie & the Blowfish sold 13 million copies of their first record, or that the American male’s dream date is Cindy Crawford. (more…)

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[LISTENED TO: September 27, 2010] Ulysses [abridged]

Because I am a glutton for punishment, I decided to listen to the abridged version of Ulysses as well (what’s 4 more hours of my life?).  (This edition is by Naxos, which Amazon is selling as a download).  I decided that the main reason was that since I have the text so fresh in my mind, it would be interesting to see what they abridged.  I mentioned in a recent post that the abridged version is 4 discs (just under 5 hours).  That is a serious abridgment, from 40 to 5 hours (actually the Naxos unabridged version is only 22 discs…how come theirs is so much shorter?  It seems that Jim Norton reads much faster).  And I am curious to see what they consider the “essential” text of the book.  Plus, realistically, I would never really want to do it at a later date.

So this version is read by two different people: Jim Norton (who read Dubliners, Portrait, and an abridged Finnegans Wake too) and Marcella Riordan.  There are a number of places where the two interact (she is Molly in the early scene in bed and she is some of the whores in the nightwon scene…it adds some real dramatic resonance to the story). (more…)

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[LISTENED TO: Week of September 20, 2010] Ulysses 17-18

The final two Episodes of the Ulysses audio book were a mix of nothing new and massive revelations.

Episode 17, the catechism, doesn’t reveal all that much in the reading.  It’s a fairly straightforward Episode, so there’s not very much in the actual reading that would impact it.  One or two things do become somewhat clearer with the audible emphases but questions like this one are still a beast to unpack:

What counterproposals were alternately advanced, accepted, modified, declined, restated in other terms, reaccepted, ratified, reconfirmed?

Although in Episode 18, Molly says:

he says hes an author and going to be a university professor of Italian and Im to take lessons what is he driving at now

So I guess the Italian lessons plan is settled?  Which gives us some account of Stephen’s future.

But back in 17, this time through I became more aware of the

interment of Mrs Mary Dedalus, born Goulding, 26 June 1903.

So Stephen has been “in mourning” for almost a year.  Is that standard for Ireland at the time?  And how interesting it is that

Rudolph Bloom (Rudolf Virag) died on the evening of the 27 June 1886.

Their parents died on almost the exact same date (different years, obviously).  This is another interesting similarity that is not directly mentioned in the Q&A. (more…)

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[LISTENED TO: Week of September 13, 2010] Ulysses

Episode 15 is a huge one, so I finished up that and 16 this week.

One thing I noted about Episode 15 is that in this section:

THE VOICE OF ALL THE DAMNED Htengier Tnetopinmo Dog Drol eht rot, Aiulella!
(From on high the voice of Adonai calls.)
ADONAI Dooooooooooog!
THE VOICE OF ALL THE BLESSED Alleluia, for the Lord God Omnipotent reigneth!
(From on high the voice of Adonai calls.)
ADONAI Goooooooooood!

the texts that are printed backwards are played as the forward recording flipped in reverse.  It was a cool effect.

I really didn’t enjoy Episode 16 while I was reading it.  I felt it was overly long and perhaps too focused on the mis-named sailor.  Plus, I was really looking forward to Episode 17 (which is my favorite).  But this time, with someone else reading the hard words, I was able to appreciate quite a lot more about this Episode.

Lar’s comments about Skin-the Goat also helped to give some background to this odd character.  And this leads me to a question that I sort of thought about while reading, but which comes up a lot more for me in this listen:  Joyce’s opinion of Ireland and of Irish independence.  The Citizen in the earlier episode was all about the Irish language and Gaelic sports.  And now in this Episode there is a lot of talk about Parnell returning.  Was this all included because it is what old men in Dublin talked in Dublin in 1904, or was it something that Joyce had a vested interest in (even while he was living in Paris where he wrote the book).  [I could investigate this, but that seems like an awful lot of work.] (more…)

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[LISTENED TO: Week of September 6] Ulysses

This week I almost finished Episode 15.  I’ve just finished where Bella turns into Bello and things get really weird.  And I have to say that this Episode, for all of its craziness, is masterfully handled by Donal Donnelly.  I’ve already raved about his vocal stylings in the earlier chapters, dealing with so many different men.  But in this chapter he proves to be very dextrous at male and female voices, with a very delicate voice for some and an incredibly masculine woman’s voice for Bello (very well done indeed).  He has also proven himself to be a treat with sound effects (of which there are many here).  I won’t say for certain that it makes this insane Episode a lot clearer, but it certainly makes it easier to follow.

Back to Episode 13. The Gertie section is written in a style that is supposed to be romantic, very quick and flowy.  And Donal really nails it.   After the business of Episode 12, the lightness of 13 is wonderful, and it really brings to life the scene, especially when the rockets go off.

One thing I picked up this time is that Bloom assumes that he knows exactly when Blazes and Molly consummated their affair.  Even re-reading it now, it wasn’t quite as clear as the way he read it aloud:

Funny my watch stopped at half past four. Dust. Shark liver oil they use to clean could do it myself. Save. Was that just when he, she?
O, he did. Into her. She did. Done.
Ah!

So, yes I suppose it’s obvious, but sometimes reading along you just don’t pick things up.  And it took the way he read it for me to realize just what those short sentences meant. (more…)

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SOUNDTRACK: DAVE BIDINI-The Upstairs, Sydney Nova Scotia July 26 2007 (2007).

Dave Bidini recorded three shows in 2007 in eastern Canada which are all available on the Rheostatics Live website.  They were acoustic shows and featured a reading from his then new book called Around the World in 57½ Gigs.

On this particular venue, he gives two readings (and the readings are very good.  His writing has grown even more engaging since this first book).

The songs he plays are a couple from the Rheostatics: “My First Rock Show” which sounds good in this format.  “Me and Stupid” which is almost made for this format and “Horses.”  Now “Horses” is a wild and raucous song, typically full of Martin Tielli’s amazing guitar pyrotechnics.  The acoustic version is much more mellow, but no less affecting.

He’s got a number of what I assume are new songs (I haven’t heard any BidiniBand songs yet, so I don’t know from whence they come).  “Song Ain’t Good” is a kind of jokey song about how the song itself isn’t any good.  Lyrically, the song grows on you as it progresses.   “The List” is indeed a list of people and things that are killing us now: Tim Hortons, Chad Kroeger, Stephen Harper etc.  It’s a protest song and is kind of catchy.

“The Land is Wild” is a more interesting song, musically.  Lyrically it’s about Bryan Fogarty, a dead hockey player.  And the final track is “The Ballad of Zeke Roberts” the story of a Liberian singer.

The other shows feature essentially the same songs (one of them includes “Fat” instead of “Horses”).

The difference with these new songs as opposed to the Rheos songs is that these are more pointedly about something.  They are quite message driven.  And one needs to care about the message I suppose.  Bidini does not have a great voice. Or, more to the point, he has a limited voice that works great for certain things, but it’s not always at its strongest in this acoustic setting.  Nevertheless, he has great rapport with the audience, and is a very charming performer.

I’m rather interested in hearing what the BidiniBand have to offer.  There’s an interesting interview with the Bidini here.

[READ: September 1, 2010] On a Cold Road

So Dave Bidini was in the Rheostatics.  This book is a chronicle of their tour as the opening act for The Tragically Hip on their tour across Canada.

The book offers lots of insights into the ins and outs of touring–the frustration, the loneliness, the elation, the confusion, the shattering disappointments, everything.  As a fan of the Rheos and the Hip, I found this to be a really interesting chronicle of a cross-country tour.

And what I found interesting about the book itself is that the main guys aren’t a small band struggling, nor are they a headlining megaband.  They’re a reasonably small band but they are successful, and are certainly well looked after on this  tour.  So it gives the feeling of being the underdog without actually working too much about pathos.

The Rheos are simultaneously jealous of the Hip, but also very grateful to them.   It makes for an interesting read. (more…)

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SOUNDTRACK: PHISH-LivePhish 11.14.95 University of Central Florida Arena, Orlando FL (1995).

I have a number of these LivePhish discs.  They are universally solid releases (all from soundboards, I believe, which, have they really been recording all of their shows since like forever?).  And it’s fun to hear Phish totally jam out on a few of their more meandering songs.

One of the most interesting aspects of the series is that they almost always throw in a cover song (on Halloween, they cover an entire album by another band).

I haven’t really mentioned any of these releases because there’s usually not much to say about them: you either like Phish live or you don’t.  But this one is notable for being particularly odd.

They do an a cappella song in the first set–typically if they do an a capella track it is as an encore or the intro of the second set, but this one is right there in the beginning.

The end of the set also had the only instance (of the shows that I have) where Trey explains the audience chess match.  Many of the recordings open up set two with an audience chess move.  In this case, Trey explains that they have been playing chess with the audience at each show.  Phish is white, the audience is black and anyone who wants to just has to go to the Greenpeace booth to play a move…I have no idea how they would choose who gets to play the final decision.

There’s some other odd things in the show. “The Divided Sky” features one of the prettiest solos that Trey plays.  In this show there is a very long pause between the end of the first half of the solo and the beginning of the second.  The crowd cheers quite a bit during the pause, but we the listeners, have no idea what happened.

And then there is the extra long rendition of “Stash.”  It’s broken into three sections.  The first one features a fun audience response guitar solo.  And in this instance, he plays it in a much more staccato style.  The middle one features a bizarre percussion type solo.  And the third features a rendition of “Dog Faced Boy” which is not sung to the appropriate music, rather, the keyboards just play simple, unrelated chords while Trey sings.

Set two ends with a wonderful rendition of “You Enjoy Myself” that ends in their bizarro screaming and grunting.  You’ll get funny looks listening to that loudly.

So this set is a good one, and it stands out as unique among the others for being so darn bizarre.

[READ: June 27, 2010] The Boy Who Couldn’t Sleep and Never Had To

I’m always bummed to read a prepub after it gets published.  Sigh.

Sarah told me that I’d love this book and she was correct.  It’s about a misfit high school boy who draws pictures and draws them really well.  Despite this talent, he is not lauded by the cool kids in his class (the kid who draws licensed characters holding joints is lauded by the cool kids).

He’s also kind of defensive about his drawing, because he gets tired of people asking him what he’s drawing.  Especially when they think that he’s just doodling.  But then one day Eric Lederer asks him what he’s drawing.  He and Eric have never talked.  In fact, he doesn’t think anyone talks to Eric.  Eric’s THAT kind of weird.

And what our narrator realizes is especially weird about Eric is that he is standing really really still: “No one stands this awkwardly sure of themselves except characters in my drawings staring straight ahead with their arms at their sides” (8).  And with that awesome detail I fell in love with the book. (more…)

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SOUNDTRACK: SINÉAD O’CONNOR-The Lion and the Cobra (1987).

I was tempted to say that this album came before all of the controversy.  But then, she’s always had controversy around her.  Just the fact that she had her head shaved was enough to incite some people to alarm (not to mention, we never received this more fierce looking album cover).

But before all of the success of “Nothing Compared 2 U,” she released this amazing, empassioned debut album.

I’ve no idea what the first track is about, but there’s something about her voice on the “oh’s” in particular that still gives me chills.  “Mandinka” has a great guitar sound (seemingly destined for hit radio) that seems very out of place on this disc (again, I’m lost on the lyrics here, too).

The album comes into its own with the really odd but delightful “Jerusalem.”  Musically it’s got a sort of funk base which resolves itself into a very winning chorus.  And, once again, her voice sounds otherworldly.  It’s followed by the largely acoustic “Just Like U Said it Would B” (Prince fan much?).  It’s a  fairly simple song (with interesting arrangement–I like the flute) that builds to a strong climax.

“Never Get Old” opens with some spoken Irish (and features future star Enya), but it’s “Troy” that is the absolute breakthrough on this disc.  From the occasionall string swells, to the eerie silences to the incredible heights that she reaches (and the notes that she can hold) it’s really tremendous.

“I Want Your Hands on Me” seems like another grab for a single.  The single version featured a bizarre little rap from MC Lyte.  In the pantheon of silly rap lyrics, I’ve alwys kept this near the top: “I’m not the kind of girl to put on a show coz when I say no, yo I mean no.”  Sentiment and good intentions aside, it’s very clumsy.   Not my favoite track.

The final two, “Drink Before the War” and “Just Call Me Joe” are interesting denouements after the pop of “Hands.”  “Drink is a slow paced, somewhat quiet track, until the chorus really blasts off.  And “Joe” sounds like a demo: a raw electric guitar, cranked way up (but mixed quietly) accompanying Sinéad’s instructions to just call her Joe.

In some ways this album is less subtle, and by that reckoning, less sophisticated, than the bajillion-selling follow up, but I find the naked passion on this disc to be even more amazing.

[READ: Week of August 30, 2010] Ulysses: Episodes 18

The final chapter of Ulysses is all about Molly.  It enters her head and doesn’t leave.  It doesn’t even pause for punctuation (there’s none in the entire chapter except for the final period).  There are paragraph breaks, which means that there are eight sentences in total.

The Episode is crass and sexual, beautiful and moving, personal and insightful and it seems incredibly forward thinking coming from a male writer.  And although it gets a lot more press as a stream of consciouness piece, it’s not that far removed from Stephen’s or Bloom’s pieces, [except that she doesn’t actually intearct with anyone to interrupt her thoughts].

The Epsiode reflects upon what we’ve learned in the day.  It inadvenrtanetly corrects some misperceptions (regarding Molly’s past infidelities–she didn’t have any–), but it also shows some pretty poor judgments on Molly’s part (mostly regarding Stephen).  And there’s just so much going on in the episode that it’s hard to catalog it all.   But it is certainly full of a lot of sexual thoughts. (more…)

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