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Archive for the ‘Soccer’ Category

SOUNDTRACK: MAHAN ESFAHANI-Tiny Desk Concert #970 (April 27, 2020).

I love the sound of the harpsichord but always assumed that one played the harpsichord in addition to the piano, like for extra flavor.  That may be true, but Mahan Esfahani is not only “the instrument’s most ardent advocate,” he is also hilariously cocky about it.

For this Tiny Desk,

Esfahani, who grew up near Washington, D.C., but is now based in Prague, chose a double manual harpsichord — meaning two keyboards. This one was built by specialists Barbara and Thomas Wolf in 1991, but is based on a famous French instrument from 1770.

The harpsichord is a beautiful but notoriously fussy instrument. After we wheeled one behind Bob Boilen’s desk, it took the bulk of an hour to get the tuning just perfect for the very first Tiny Desk harpsichord recital. Given that our guest was Mahan Esfahani we were willing to wait.

His set began with classics: a pair of sonatas by Domenico Scarlatti, which share the same key but couldn’t be more opposite in personality. With elaborate curlicue ornaments in both hands, the opening sonata “Sonata in D, K. 534,” presents a sober, regal outlook. Its partner “Sonata in D, K. 535” is a flamboyant rocker, with the hands chasing each other across the two keyboards like a cat and mouse.

Before the next song Esfahani makes some wonderfully funny comments about the superiority of harpsichord players.

He says people thing harpsichordists take piano pieces and transcribe them for the harpsichord.  No, pianists take enough of our music; we’re a much classier bunch than them.  We have our own music.

He also tells us that there are many modern composers making harpsichord music.

But he also tells us that there modern composers making harpsichord music.  Composers are the best people as we all know.  It goes composers then harpsichordists, I think, then everyone else.

Mel Powell was a jazz pianist who worked with Benny Goodman. he then became a composer of “proper music” (as it was called in the 1950s).  he studied with Hindemith but unlike Hindemith, he’s not boring.

Angular and slightly jazzy “Recitative and Toccata Percossa,” from 1951, is a tour de force in this artist’s hands. It drives home a point he likes to make — that while the harpsichord had its heyday in the 18th century, it’s still a vibrant instrument and very much alive. “There are over 50 modern concertos for the harpsichord,” he told the audience.

He closes with a lesser known piece by a famous composer.  After giving the proper pronunciation of Pachelbel, he tells that Pachelbel was good enough to teach Bach’s brothers.

Esfahani closed with a little-known chaconne by Johann Pachelbel. Its steady bassline and colorful variations were a pleasant reminder of the composer’s one-hit claim to fame, “Pachelbel’s Canon.”

I’ve never seen a harpsichord that looked like this before.  It sounded great.  I love that there are muted passages in the Pachebel piece–I’ve nevee heard a muted harpsichord before.  This was another great Tiny Desk.

[READ: May 3, 2020] “What to Watch During the Lockdown: Month 38”

I used to really look forward to Nick Hornby’s (mostly) monthly columns in The Believer. I’m not really sure what he’s been up to since, but it’s great to see a new column from him.

This one features his delightfully obscure references to entertainment and football.

My wife and I are apparently the only people who will come out of this quarantine with even more shows to watch than we started with.  We have so much to do during the day–house fixing, yard prepping, reading–that we barely watch an hour of TV a night.  And there’s about 35 shows that I would like to binge.

So, I appreciate this essay intellectually, but not on a practical level (even if it is hilariously absurd). (more…)

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2002SOUNDTRACK: ANT & DEC-“We’re on the Ball” (2002).

indexEvidently, for nearly every football tournament since 1970, the English team has had a theme song.

Occasionally one of those songs will reach non-footbnall fans.  In 1990 New Order did “World in Motion” which New Order fans will know whether they like football or not.  One of the band members described the single as “the last straw for Joy Division fans.”

Who the heck are Ant &Dec?  They are TV presenters (of what I’m not sure) with really questionable haircuts.  I don’t know if they wrote this song or just sing it. I’m not even sure what the verses are on about as they seem to be irrelevant–filler until you get to the chorus.  A vibrant horn melody introduces the easily chantable:

We’re on the ball
We’re on the ball
We’re on the ball
We’re on the ball
We’re on the ball
We’re on the ball
We’re on the ball
We’re on the ball

The final verse is one that any football fan can appreciate:

Japan, Korea, here come England
It’s Neville to Cambell
Cambell to Rio
Rio to Scholesy
Scholesy Gerrard
Gerrard to Beckham
Beckham to Heskey
Heskey to Owen
To Nodd
5-1

Honestly I prefer Fat Les’ “Vindaloo,” which has a huge na na na part and this wonderful boast: “We’re gonna score one more than you.”

[READ: September 25, 2019] “We are the World”

Nick Hornby wrote his final music article for the New Yorker in 2001.  He then wrote this article about soccer and then stopped contributing to the magazine at all (until mid 2020, it turns out).

This article is all about the World Cup.  I’m sure there are many writers who can write wonderful things about the World Cup, but I feel like Hornby’s unbridled love for the game, combined with his quick wit and mild snark, make his World Cup writing excellent.

It’s always weird to read about things that happened nearly twenty years ago as if they were current. It’s even weirder to read about things that happened nearly twenty years ago that you didn’t care about, or possibly even know happened, from someone who cares very deeply about it.  “It is mostly pointless to try to convince an American readership of the joys of football (yes football) but it would be hard for anyone not to take pleasure in the rhythm of life in a football-mad country during the world cup.”

The world cup was on at 7:30 AM in England most days . England’s tabloids had to battle the World Cup for eyeballs and gave up: “On the morning of England’s game with Brazil the cover of the Daily Mirror showed only the flag of St George–England’s official flag–and the caption, ‘This page is cancelled. Nothing else matters.'” (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-12 Bar Bruise (2012).

12 Bar Bruise is the first full-length album from KGATLW.  It sounds even rawer than their EP.  But there’s no drop in intensity.  It’s an intense mix of punk, psychedelic blues, surf rock and boogie all filtered through a buzzing, fuzzy sound.  Distortion rules this album, but never enough to obscure what are remarkably simple but catchy riffs.  Most songs are just around 3 minutes long.

Once again, lyrics take a lesser place than great music. So “Elbow” has some bad words in it, but you can’t tell.  It’s more about whoops and tricked out guitar solos and chants of “ey ey ey.”  “Muckraker” introduces the surf punk elements and “Nein” has my favorite lyric thus far: “1,2,3,4,5,6,7,8, Nein, Nein, Nein, Nein, Nein”

“12 Bar Bruise” is the longest song on the disc at 3:47.  It is indeed a simple blues with muffled vocals.  “Garage Liddiard” introduces the concept of surf rock in a garage.  The guitar slides like a surf rock song but the whole vibe is garage with “ooh ooh” backing vocals and a harmonica solo that sounds like someone singing at the same time.

“Sam Cherry’s Last Shot” is the one very different song on this record.   It is played like a Western and it features spoken word.   Broderick Smith [of The Dingoes] is harmonica player Ambrose Kenny-Smith’s father.  He is an absolute Western nut so he narrated page 521 and 522 of the book “Our Wild Indians: Thirty-Three Years’ Personal Experience among the Red Men of the Great West” by Colonel Richard Irving Dodge, Aid-de-Camp to General Sherman.  This is certainly the set up for their next album, Eyes Like the Sky which is a full album of Western music with narration from Smith.

“High Hopes” is almost as long as “12 Bar,” but it has an intro of electronic drums and video game sounds before it switches back to the standard rocking sound.  There’s a lengthy, wickedly distorted harmonica solo.  “Cut Throat Boogie” features a different vocalist (I think Ambrose Kenny-Smith).  It’s a garage rock boogie.

Despite the title, “Bloody Ripper” is a slower, quieter less frenetic and really catchy song.  “Uh oh, I Called Mum” wins for best song title.  It opens with everyone chanting “mum” and lots of backing vocals.  The lyrics: “I bought a funny glob / I put it in my gob.”  “Sea of Trees” is the least distorted track.  It’s a catchy swinging song with a cool harmonica solo.

The disc ends with “Footy Footy,” a two-minute stomper dedicated to playing footy.  The chorus:
Footy footy, all I wanna do is
Footy footy, all I wanna kick is
Footy footy, they catch the ball, kick, play on!
Footy footy, footy footy footy!

But the verses are presumable great players:

Ang Christou / Che Cockatoo-Collins / Phillip Matera / Gavin Wanganeen / Gary Moorcroft / Aussie Jones / Bruce Doull, the ‘Flying Doormat’ / ‘Spida’ Everitt / ‘Spider’ Burton / Craig Bradley / The 1995 Carlton football team

and

‘Diesel’ Williams / Dale Kickett / ‘Sticks’ Kernahan / Darren Jarman / Chad Rintoul / Ashley Sampi / Mick Martyn / Dean [?] / Clint Bizzell / The Brisbane Bears / Aaron Hamill / Everyone

with the final line: “I hate what this game has become.”

It’s a lot of fun crammed into 35 minutes.

[READ: February 1, 2019] Checkpoint

This book was a pretty controversial work back in 2004.

Released before the re-election of George W. Bush, this book is, very simply, a dialogue between two men.

The topic?  Jay wants to assassinate President Bush.  Ben, his oldest friend, wants to talk him out of it.

There was a lot of discussion about the merits of this book–regardless of the politics–and I didn’t want to read it because of all of that.

In the real world, it’s fifteen years later and we are suffering through a trump–far worse than Bush could have even imagined being–although clearly Bush marched the Republican party off the cliff that had trump at the bottom of it.

So, how does one come down on this spicy subject fifteen years later? (more…)

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SOUNDTRACK: TERRA LIGHTFOOT-Live at Massey Hall (December 8, 2017).

I know of Terra Lightfoot because she has done some (very minimal) work with Rheostatics.

Amazingly, she is not related to Gordon Lightfoot (how many people have this last name?).

Terra Lightfoot opened for Whitehorse (a double bill I would love to see).  She plays a half a dozen songs.  I thought she might be a sensitive folkie (again that Gordon connection), but it turns out that she rocks (and blues), has a powerful voice and plays a pretty wicked guitar as well.

Lightfoot is a great front woman–engaging and funny–and she has some great stories to tell about each of her songs.

“Stars over Dakota” just rocks out–big guitars, smashing drums (from Joel Haynes) and then settles into a swinging shuffle.  Lightfoot has a singular voice which I quite like.  I also like the little guitar riff she gives after the “gin martinis make dizzy” line.  She is joined mid-song by Melissa McClelland of Whitehorse who sings some amazing harmonies.  That’s two killer voices on one stage.

Drifter is a slower song, with a really lovely opening guitar melody.  She has been inspired in her career by her grandmother and her aunt who both played music.  Her grandmother recently died, but her aunt is still playing.

Introducing the next song “You Get High,” she says she has a special new guitar–a woman made it for me Ashley Leanne from Waterloo, she’s 26.  While Terra’s going to play this acoustic, she invites Daniel Lanois up on the stage.  “Can we get a spotlight on the man here?”  They can’t so he scooches over to her spotlight amid much chuckling.  Lanois plays a beautifully fluid electric guitar while she picks out a lively melody on the acoustic.

“Norma Gale” is about a famous musician from the 70 who played with Loretta Lynn and Johnny Cash and went on a date with Conway Twitty (I guess he didn’t call her back).  While she was doing all these cool things, she was also raising a young son on her own.  So Terra wrote this song for her.  It starts as a pretty, slow ballad but builds nicely with the addition of keys (from Alan Zamatis).

“Hold You” rocks up again, and it’s got a cool call and response with a bass melody (from Maury LaFoy) rumbling along.  “Two Hearts” is a song she wrote in a couple of places in Europe when she was very much in love…. with a couple of people.   The song starts slowly but build to an intense climax with pounding drums and Terra on her knees rocking out,.

Having had a total mis-perception of Terra Lightfoot, this show blew me away and I want to hear more from her.

[READ: January 19, 2019] All Summer Long

This was a fun story about friendship, distance and guitar playing.

As the story open we see Austin and Bina getting ready for 7th grade summer vacation.  They have been friends since they were five years old and have spent all of the previous summers together.  They even created the Combined Summer Fun Index–a way to tally just how much fun they have each summer.

Last summer’s included:

  • Cats petted: 22
  • Went swimming: 51 times
  • $idewalk change: $1.18
  • Sneaked into R-Rated movies: 2 times

But this summer, Austin can’t participate.   He is going to soccer camp for a month.  A whole month.  Summer is ruined–for Bina at least. (more…)

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[LISTENED TO: September 30, 2017] The Resisters

I saw this audio book at the library and thought it might be a fun book for a long car trip.  It turned out the family wasn’t going on one for a while, but Clark and I were heading to Hartford for the Pokémon Regional Championship, and this was just about the right length for the trip.

I was turned off by the cover–that very computerized version of the kids.  Although I see that Nylund writes books in the Halo series, (and has an interesting history writing for Microsoft, go figure).  So I guess it makes sense that there’s a computer edge to it.

The story wastes no time opening and doesn’t wait for you to catch up.

Ethan Blackwood is twelve and, as the book opens, he is in the last few seconds of a very important soccer match.  But, with no explanation given , we learn that this soccer match is not what we are used to.  All of the competitors are wearing large armored suits and the ball can hit speeds of 300 MPH.  Ethan is a year younger than his teammates, but he has proven himself on many occasions and they all look to him for a great play. (more…)

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SOUNDTRACK: ROY AYERS-Tiny Desk Concert #712 (March 1, 2018).

I hadn’t heard of Roy Ayers, although I imagine I’ve heard his work somewhere before.  I love the vibes so I was looking forward to his set.

I was a little bummed to hear him singing–I assumed it would be all instrumental. Especially since his songs aren’t exactly lyrically masterful.  But the jazzy funky solos were pretty great.

Roy Ayers [is a] 77-year-old jazz-funk icon.  He sauntered through the office with a Cheshire grin on his face, sharing jokes with anyone within earshot. Accompanying him was a trio of brilliantly seasoned musicians — keyboardist Mark Adams, bassist Trevor Allen and drummer Christopher De Carmine. Later during the performance, pride washed across Ayers’ face as his bandmates took the spotlight. (Be sure to watch as Adams woos not just the room but brightens Ayers’ face during his solo.)

The set began with one of Ayers’ more recognizable hits: an extended version of “Searching,” a song that embodies the eternal quest for peace and love.  The vibes solo at 2 and a half minutes is worth the wait, though.

The lyrics are essentially.  I’m searching, searching, searching searching. It takes over a minute for him to even get to the vibes!  It’s followed by a groovy keyboard solo that starts mellow be really takes off by the end.

During “Black Family” (from his 1983 album Lots Of Love), you’ll hear him call out “Fela” throughout. That’s because Afrobeat legend Fela Kuti was a huge influence on Ayers in the late 1970s; the two eventually collaborated on an album, 1980’s Music Of Many Colors. “Black Family” is, in part, a tribute to Fela, even if the original version didn’t include his name.

Again the lyrics: “lo-lo-lo-lo-long time ago” and not much else repeated over and over and over. But it’s all lead up to a great vibes solo (as the band gets more and more intense).  I love that the keyboardist has a keytar as well and is playing both keys at the same time–soloing on the keytar with an awesome funky sound.  There’s even a cool bass solo.

Concluding this mini-concert, Ayers closed the set out with his signature tune, “Everybody Loves the Sunshine”, a feel-good ode if there ever was one. The essence of this song flowed right through him and out to the NPR audience.

Another terrific vibes solo is followed by a keytar solo which is full of samples of people singing notes (they sound like Steely Dan samples)–it’s weird and kind of cool.

[READ: August 2017] McSweeney’s No 46

As the subtitle reflects this issue is all about Latin American crime.  It features thirteen stories selected by Daniel Galera.  And in his introduction he explains what he was looking for:

DANIEL GALERA-Introduction
He says it used to be easy to talk about Latin American fiction–magical realism, slums and urban violence.  But now things have expanded.  So he asked 13 writers to put their own Latin American spin on the crime story.

And of course, each McSweeney’s starts with

Letters

DANIEL ALARCÓN writes passionately about Diego Maradona’s famous “Goal of the Century” and how as a child he watched it dozens of times and then saw it thousands of times in his head.  When he learned of Maradona’s questionable “Hand of God” goal, his father said that his previous goal was so good it counted twice.  But Daniel grows sad realizing that the goal of the century also marked the beginning of Maradona’s decline.

LAIA JUFRESA this was a fascinating tale about a game called Let’s Kill Carlo that her family played.   It involves a convoluted history including her mother “inventing” a child in order for her husband to come to Mexico from Italy and avoid conscription there.  But when this child “Carlo” “came of age” they had to think of reason why he wasn’t there anymore–so they invented the Let’s Kill Carlo game.

YURI HERRERA waiting for a bus in New Orleans as a man lay in the gutter also waiting.

VALERIA LUISELLI her friend recently moved to Minneapolis with her nervous wreck Chihuahua named President.   He was diagnoses with terminal cancer and the vet encouraged all manner of alternative therapies.  This friend was a very sweet person and had many virtues. And yet perhaps through her virtue the alternative therapy seems to have worked.

FRANCISCO GOLDMAN wants to know why immigration officers at Newark Airport are such dicks (and this was before Trump–#ITMFA).  He speaks of personal examples of Mexican citizens being treated badly.  He had asked a friend to brings books for him and she was harassed terribly asked why did she need so many bags for such a short stay.  Another time he was flying back to NYC with a Mexican girlfriend.   She went through customs and he didn’t hear anything for hours.  He didn’t know if she would even make it though customs at all–even though she’d done nothing wrong.   He imagines wondering how these officers live and what their lives must be like that they seem to take pleasure in messing with other people’s lives. (more…)

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SOUNDTRACK: AUGUST GREENE-Tiny Desk Concert #709 (February 21, 2018).

A collective of artists is at the core of August Greene: Common (Lonnie Rashid Lynn), keyboardist Robert Glasper and drummer Karriem Riggins have known each other for a long time.

The blurb says

August Greene was born at the White House in 2016 during a special Tiny Desk concert. It was during that unprecedented performance that the then-untitled ensemble premiered the powerful “Letter to the Free,” an original song for Ava DuVernay’s Netflix documentary 13th that eventually won an Emmy for Outstanding Original Music and Lyrics.

Common says they came together to be an inspirational collective who wanted to foreground women and put women in the foreground.  It is unfortunate, then, that the first song features all men.  But their hearts are in the right place “That’s important in hip-hop, which has long been dogged by an old-line adherence to misogyny, as it lays claim to the world’s most popular genre.”

For the trio’s first visit to NPR headquarters, they brought some special guests: vocalists Brandy, Maimouna Youssef and Andra Day. The band performed four tracks from its upcoming self-titled album (out March 9 on Amazon Music), an impromptu freestyle, and Day’s Oscar-nominated collaboration with Common, “Stand Up For Something,” from the film Marshall. Common described the theme of the Tiny Desk as “Foregrounding Women,” alluding to the attendance of Brandy, Day and Youssef, as well as the spiritual presence of Glasper’s younger cousin, Loren, who passed just a few days prior.  [Common says she “transitioned” which I thought meant she was undergoing gender reassignment surgery–euphemisms are dangerous, people].

This five song Tiny Desk Concert is over half an hour and I enjoyed most of it.  I really like Common and his delivery.

August Greene’s latest single, “Black Kennedy,” connotes dreams of an African-American dynasty, the kind only a royal family assumes. The stark contrasts of disenfranchisement are highlighted by every wish expressed.

Common does the rap, which is solid (Common’s voice is so good) and Samora Pinderhughes sings the chorus. I’m rather surprised by how wimpy his voice is.  He sounds either nervous or like he can’t hit the notes he wants.  And yet somehow I find this charming and his part of the song to be very catchy.  I like the D Dummy is there scratching as well.

Up next is “Practice.”  Glasper doesn;t say much during the show, but he is hilarious when he does.  Common says Robert was playing these chords in the studio.  Glasper: “It was the best thing he ever heard” after some laughs, Common retorts: “I was like it’s a’ight.  Once we my raps, the song turned out right there.

“Practice” is how “Life takes work.  You gotta work on yourself and any craft, any relationship”  The song features one of the queens, Maimouna Youssef, we call her Mumu Fresh.  She sings backing vocals and then does a great rap

sometimes being a woman is like being black twice
i gotta shout fire instead of rape
and you tell me to act nice
look pretty stay slim don’t talk loud
don’t think, don’t feel, don’t act proud
but if I’m at my lowest how are you 100%
god made woman and man for the balance of it
so will the real men please stand up.

While Common is talking a phone goes off.  “So yo, who phone is that?”  ha ha

He talks about one of their favorite songs, “Optimistic” by Sounds of Blackness.  As a hip hop artist, I usually don’t do remakes, but as August Greene I can do what I want.

Common: Anything yo want to say rob?
Robert: Yes, i wrote your rhymes.  Just want everyone to know that.
Common: Yea that’s why on this song my rhymes are sub par cause her wrote them

Rob said we need to get brandy.  Brandy came in with that light.

With a buildup like  that I wanted to like this song a lot more than I do.  Even though Brandy’s voice sounds good, I don’t like her delivery. This was my least favorite song of the day.

He introduces: Burniss Travis on the bass; DJ Dummy, on the 1s and 2s; Karriem Riggins on drums

Common shows off a truly great freestyle.  There’s some great rhymes referencing previous tiny desk episodes, and lines like “rob g cant rhyme like me.”

Introducing that amazing “Stand Up for Something,” he says that people worried with this administration that the world is ending.  The world ain’t ending it’s just god bringing the best out of us.  What’s more important than standing up for something you believe in.  It is designed to inspire hope, to bring the message of Thurgood Marshall to a new generation: “it all means nothing if you don’t stand up for something.”

We had to bring in a revolutionary to sing it so we got the sister Andra Day here.  She jokes “I usually like to underpromise and overdeliver.” But she nails it.  She sounds amazing.  It is by far the best song of the day and a great song in general with a great old-school soul sound.

Common ends with this great rhyme

a president that trolls with hate
he don’t control our fate because god is great
when they go low when we stay in the heights
I stand for peace, love and women’s rights

Later, in “Let Go,” vocalist and August Greene collaborator Samora Pinderhughes sings of overcoming darkness within yourself and finding hope at the bottom of Pandora’s box. It’s about releasing the demons so the hands can hold the blessings.

Common says they first called it “Nirvana” because it reminded them of Nirvana “the group from the 90s who we all love.”  (I love that he had to qualify that).

Pinderhughes, sings “I need to let go.”  It’s such a nice sentiment with a groovy opening bass line and pretty keys at the end.

I love the idea of hip-hop rising to this terrible moment in our history and working together to make things better.

[READ: December 4, 2017] Pelé: The King of Soccer

When I was a kid, Pelé was the be all and end all of soccer.  He was the man like nobody else was.  So I have been surprised in the previous two decades or so to find that he is barely mentioned among the greats.  And I have a theory about that.

Most of the people who care about soccer are not from the States (this is changing a little).  And most of the people I know who support soccer are from Europe.  Pelé is Brazilian and, more importantly, he defeated a lot of Europeans.  Plus, and this is probably the real crux, Pelé was instrumental in introducing soccer to the U.S.–right when I was impressionable enough to fall for it.  My then close friend’s family was really into soccer and we went to a New York Cosmos game (I wonder when that was.  Did I see Pelé play?  I must have).

Anyhow, Pelé was a pretty amazing player, and I’m glad to have this book confirm that for me.  What’s interesting about this book, though, is that it also talks about his personal life.  He was amazing for the kids of Brazil, but a little less amazing for his family (I was surprised to see his terrible personal life in there, primarily because this is a kids book.  But it’s important not to gloss over that kind of thing, too).

I also realized that I knew absolutely nothing about Pelé.  Like, nothing at all.  So this was a great book to fill me in. (more…)

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SOUNDTRACK: SHABAZZ PALACES-Tiny Desk Concert #662 (October 23, 2017).

Shabazz Palaces is really nothing like anything else I’ve heard.

“On the ground we have leopard skin carpets Only the exalted come in and rock with us.”

With those words, spoken in the opening moments of Shabazz Palaces‘ Tiny Desk performance, Palaceer Lazaro (aka Ishmael Butler, also of Digable Planets fame) lays the ground rules for all present to enter the group’s metaphysical headspace.

And, man, talk about being transported to the other side. It’s impossible not to envision the Seattle studio, Black Space Labs, where Shabazz’s otherworldly soundscapes emerge to provide the ideal backdrop for shining a light on the fake.

 It’s the perfect proxy for the growing sense of alienation we’re all suffering, to some degree or another, in today’s space and time.

Shabazz Palaces is perhaps the most unusual rap band I’ve heard. There are hardly any beats. The songs are trippy with washes of synths and other sound effects.  There’s no heavy bass, it’s just up to Palaceer Lazaro to keep the flow.

There’s an 80 second intro in which Palaceer Lazaro introduces the band and talks about their sacred study, safe from the “Colluding Oligarchs.”

The first proper song “Colluding Oligarchs”says that “sacred spaces still exist / safe from colluding oligarchs.”  Theirs almost glitchy (but pretty) synth melodies (which I think Palaceer Lazaro triggered before he started rapping).  His partner Tendai Maraire plays a hand drum and congas (as well as some synth triggers).  And all the while he is singing echoed backing vocals.  Meanwhile, Otis Calvin plays an intertwining, slow, almost improved bass line.

For “They Come In Gold” there is no bass.  He says “this one we wrote to our phones.”  There’s a weird repeating melody that sounds like  snippet of vocals. Once again there’s lot of percussion–shakers, cymbals etc.  Half way through, he puts a filter on his voice to slow it down (a cool spacey effect) and then speeds it back up.

“Shine A Light” includes some squeaky synths and Palaceer Lazaro singing into a different mic.  When the music starts formally, the melody is a looped sample from Dee Dee Sharp’s 1965 song “I Really Love You.”  The bass is back playing some simple but groovy lines.  That second mic is connected to a higher-pitched echoed setting when he sings shine a light on the fake.

[READ: March 15, 2017] Punch

I don’t know much about Pablo Boffelli aside from that he is an Argentinian artist–he creates music as well as visual arts.

This book is a collection of line drawings (which remind me a lot of things that I draw when I am doodling).

Since the book is published in Spanish, with no English information anywhere (it’s not even on Goodreads), I couldn’t get a lot of information about it.  So from the publisher’s website I got (in translation):

In the PUNCH world, space is a character that unfolds and unfolds in millions of scenes. Cynicism and the absurd coexist with hints of synthetic humor.

Punch is the book drawn by Feli. His imprudent stroke runs through the pages building a city in which everything can happen. In the Punch world, space becomes a character that unfolds and unfolds in millions of possibilities. The urban landscape eats everything, the exteriors become interior and the fantasies materialize in the most unforeseen forms. The cynicism and the absurd coexist with hints of humor: the joke to discover for that spectator who contemplates in a disinterested way.

Punch is tender and corrosive, is infinite and minimal. It reverses the logic of physics and plays with the scale: stacked things, types or giant landscapes, a springboard that does not point to the pool, soccer balls in a refrigerator, humans without head, debauchery and micro-obsession. Put another way: this book is crazy. We recommend looking with a magnifying glass.

(more…)

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[LISTENED TO: September 13, 2017] Believe Me

When I saw that Eddie Izzard had a book out I was pretty interested to read it.  I have loved his stand-up since 1997 or 1998 and I was lucky enough to see him on his Circle Tour (on the date they recorded it!).  I have been keeping up with his career and trying to see him in whatever he does (although I like my comedy more than drama and he has certainly made the shift towards drama in recent years).

I thought an autobiography or memoir by him would be pretty interesting (even if he claims to be boring).  But when I saw that he read the audiobook, I knew I had to give it a listen (even if it was 12 discs)!

Amusingly, there was a long delay at the library.  The lady at the counter (who is not the librarian–we librarians know the difference) said if I knew his voice, I could just read the book to myself in his voice.  It was an amusing thought, and I possibly could do that, ….yes, but Eddie’s voice is just so fantastic that it never would have worked properly.  Plus, he throws in easily an extra hours worth of footnotes and rambles that aren’t in the print book!  That’s right, an extra hour’s worth of nonsense if you do the audio.   True you don;t get to see the pictures, but it’s a fair trade-off.

Well the book finally came in and I had plenty of driving time to make short work of this 12 hours behemoth.  And I laughed and laughed.  And cried and cried.

Because while Eddie Izzard is an action transvestite (transgender, now) and one of the best stand-ups around, he is also an extremely warm and thoughtful person. He worked very hard to become the success he is.  And he has used his fame to do some absolutely wonderful things for humanity–including raising millions of dollars.  Not bad for an atheist who is sometimes in girl mode and sometimes in boy mode. (more…)

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SOUNDTRACK: JOSHUA BELL & JEREMY DENK-Tiny Desk Concert #568 (September 30, 2016).

After hearing a pianist and then a violinist, it was fun to hear a duet of the two.

Joshua Bell and Jeremy Denk are masters of their crafts.  Although I did not know that:

Bell and Denk have been chamber-music partners for 10 years, and they’re a bit wound up on Brahms these days. They’ve released a new album, For the Love of Brahms, and they’re performing the music, along with that of Brahms’ friend Robert Schumann, in concerts.

They play three pieces, two Brahms, and one Schumann.  And they all sound spectacular.

Brahms: Violin Sonata No. 3, IV. Presto agitato
“You gotta love Brahms,” Joshua Bell says, a little short of breath. He’s wiping sweat from his brow after the big rock ‘n’ roll conclusion to the composer’s D minor Violin Sonata. Bell and the astute pianist Jeremy Denk play it with all the turbulence and tenderness Brahms demands, and it’s an invigorating way to open this Tiny Desk concert. [I love that the focus jumps back and forth from violin to piano, with interesting riffs and trills from one then the other.  I also love the way the melodies seem to creep around and sneak up on us].

Schumann: Romance, Op. 94, No. 2
Contrasting with the fiery Brahms, Schumann’s Romance, Op. 94, No. 2 unfolds like a song without words. Bell makes his 1713 Stradivarius sing, capturing the bittersweet tone of the music. When the theme comes around for the second time, he lightens bow pressure for a more intimate, almost whispered disclosure.

Brahms (arr. Joachim): Hungarian Dance No. 1
Another of Brahms’ close friends figures prominently in Bell and Denk’s final offering. Violinist Joseph Joachim was something like the Joshua Bell of Brahms’ day, as well as the man for whom the composer wrote his Violin Concerto. Joachim’s gift to Brahms was creating piano and violin arrangements of the composer’s Hungarian Dances.  Brahms’ Hungarian Dance No. 1, powered by a sweeping theme and chugging piano topped with pearly descending runs, whisks you to a smoky café where gypsy fiddlers battle for supremacy. Starting off on the low G string, Bell’s tone is as rich as dark chocolate, the feeling a touch wistful.  [I really love Hungarian dances.  It seems like every composer’s take on Hungarian music is excellent.  I love how the violin plays a very simple yet dark melody and the piano sprinkles in all of these descending notes in a fairly dramatic scale.  And then of course as all the dances do, it speeds up, careening around in wild abandon and fun.  Wonder what made Hungary such a lively place].

[READ: June 13, 2016] Lunch Lady and the Author Visit Vendetta

I rather like that the Lunch Lady books are sequential and mildly dependent on each other. Of course you can read them in any order you like, but reading them in the proper order allows you to see some continuity between books.

In the previous book, Dee mentioned that the author of the Flippy Bunny series was coming to the school. And in this book he does.

The kids are super excited that Mr Scribson is going to be there to read and sign books.  He is something of a primadonna though as he is upset that the reading will be taking place in the gym.  After his presentation, he signs books, but when Hector brings him a very old copy of the book Scribson says “I don’t sign opened books.”  Hector who has always love the Flippy Bunny books is devastated). (more…)

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