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Archive for the ‘Sex’ Category

[REREAD September 16, 2008] “The Case of the Severed Hand”

One shouldn’t be afraid of criticism.  Heck, if you’re going to have an opinion you have to expect people will argue with you.  I didn’t like this story when I read it.  But, when Daniel commented, even though the criticism was basically, “I liked the story and you’re a stupid doodyhead” I figured that maybe I missed something.  I searched for the story again, and while browsing, I learned that The L Magazine (which I’ve never heard of) had its Best of New York City Awards and “The Case of the Severed Hand” was voted 1 of 5 BEST SHORT STORIES PUBLISHED BY NYC PUBLICATIONS, although no explanation or review of the story was given.  I’ve also learned that Coover is a highly regarded author and is known primarily for his metafiction.  I had reviewed and enjoyed Stepmother a few months ago.

So, I have now re-read the short story to see if I had indeed missed something.  And, again, I believe I did not.  The first part plays as a tongue in cheek noir and is rather funny.  The end plays as straight private eye stuff and is also rather funny.  And the middle piece was a funny little piece about incest!  I had said that I don’t know the detective genre very well, so aside from the obvious parody aspects of it–or maybe not even parody, maybe just playing withe the genre–I’m not sure how much I’m missing (that a fan of the genre would get).

The thing for me is that the parts don’t work together.  Whatever he was trying to get across between these sections of story was just lost.  And, to be blunt, I just didn’t like it.  If I enjoyed the world of private I’s more, I might have a better appreciation for what Coover is doing, but as it stands, I just don’t like it.

If you think the story works, however, please jot me a line and let me know how.  I’d be very curious to know.

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SOUNDTRACK: KING’S X: Out of the Silent Planet (1988).

I just got the newest King’s X CD XV a little while ago, and I really liked it.  I figured I’d go back to the beginning and see how much they’ve changed over the last twenty (!) years.

When I first heard Out of the Silent Planet, I was blown away.  I had never heard anything quite like it.  It had heavy heavy bass (I always said it was like Black Sabbath, but that’s not really accurate), but they also had beautiful harmonies like late-period Beatles.  Add to that Doug Pinnick’s amazing gospel/soulful voice.  And top it off with some great acoustic guitar playing and unusual instruments.  Amazing. The heaviness is more of a dissonant sound that has become more popular in the last few years: complex chords that are played very heavily.   I wouldn’t say that King’s X had anything to do with that popularity, but I heard it from them before I heard others do it.

The one thing that really struck me about the album was just how dissonant some of those chords are. I always think back on the album, which I’ve listened to hundreds of times, as being sweetly harmonic, and yet really the chords are quite aggressive.  And the riffs are in a dark, minor key.  Which is why those beautiful harmonies make such an impression.

The other thing that really struck me was how religious the record is.  Now, when it first came out I didn’t really think of the religious aspects of the disc.  There really weren’t any Christian metal bands back then, (except for Stryper) at least not on the cultural radar, and they didn’t proclaim their religiosity overtly, so I just didn’t see it.

But starting from the title: Out of the Silent Planet is a book by C.S. Lewis (of Narnia fame).  And much as Narnia is a thinly veiled Christian allegory, so is Out of the Silent Planet.  You can read Narnia and not see the Christianity in it, but once you know its there, it’s unavoidable.  Same with this album.  The lyrics are not overtly Christian, but there’s enough symbolism to tell that when he sings about You, it’s not romance, but God he’s singing about.  A verse like “Sometimes my cup is empty; I wish that it stay full; cause I am always thirsty; I can’t get enough of you” can be secular or religious depending on your point of view, and I think that makes the album great.

Plus, it’s got the fantastic “Goldilox” a beautiful song, no qualifications needed.  It’s a gorgeous ballad.  but lest you think that it’s all sweetness, the album closer “Visions” ends with an unqualified thrash out…which comes after the song should end properly.  Ty Tabor’s guitar work is pretty amazing.

Wow, it’s a great album.

[READ: maybe December 2006/January 2007] Absurdistan.

I read this book a couple years ago, certainly before I started keeping this blog, but while I was working at the library.  My memory of it was fuzzy.  But when I referenced it in the Petropolis write up I was sorry that I hadn’t written about it.  As I’m reading the details of the book in a book review, much of it is flooding back, so I feel comfortable saying a few words about it.  Plus, I just did a fascinating thing: I skimmed the book for details.  It was fun to “read” this entire book in about two hours.  I got lots of great details, remembered parts of it, and enjoyed re-reading some of the funnier parts. (more…)

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SOUNDTRACK: STRIPPER’S UNION-Local 518 (2005).

This is a collaboration between Craig Northey from The Odds, and Rob Baker from The Tragically Hip.  Really, it comes across as a showcase for Craig Northey because, and I mean no disrespect, I’m not sure that Rob Baker has a very distinctive guitar style.  Or, put it this way, I couldn’t pick Baker’s guitar our of an audio line up.  And I don’t think that’s necessarily a bad thing.  I think it really highlights his wide range of skills.  This is evidenced also by how different The Hip sounds on different albums.  Their last 3 are vastly different.

And so, this collection allows Baker to showcase his varying styles, and probably some things he doesn’t do in the hip, and it allows Northey to sing in some styles that he doesn’t always use.  Basically, it’s a good chance for both guys to stretch out.

My first thought when listening was that the album was just a collection of good rock songs.  But as I’ve listened more, I find quite a lot of fun and interesting things going on.  The two opening tracks are pretty rocking, with “Full Flow Angry Boy” being a good shout-along.  The album changes as it moves along: “Bullet Proof White Limo” is a smooth, almost creepy song.   “Give up and Go Away,” co-written by Kid in the Hall, Dave Foley, has some great shouted “Hey’s” which always make a song fun to sing along with. “The Radio (foggy hill)” is one of those songs that seems simple and is easy to ignore, but once it gets inside of you it sticks (Imagine a droning singalong of “Na-na-na-na-na-na-na goes the radio”).

In general, Northey is a witty lyricist, and this album is no exception. The lyrics aren’t always easy to hear, but some of my favorites include:

Gang vocal with the fist up, into German porn; Peter Band caught fire, warming up for Korn.

We did 22 bucks a head; That’s better than the Grateful Dead; They picked our stock of swag so clean; As they raged against the old machine.

When I was born your time was through, now it’s my generation too; I care so I rehearse, cause everybody knows the words.

You don’t get a sense for the catchy melodies with these snippets but you do get a sense for the tone and themes.  There’s a lot of songs about being in a band, but they aren’t really navel gazing.  I mean, I’ve never been in a band, but I enjoyed the lyrics.

Any fan of The Odds or The Hip should track this down, but really, anyone looking for a diverse collection of well-crafted songs should really give this one a try. You can check out the disc from Maplemusic. There’s even a band website (which hasn’t been updated in over two years!)

[READ: August 19, 2008] “Steppin’ Out, Summer ’68”

My coworker recommended this story to me, as one of the only stories that ever made him laugh out loud (he claims he has no sense of humor). (more…)

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