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Archive for the ‘Time Travel’ Category

SOUNDTRACK: BILLIE HOLIDAY-“Strange Fruit” (1939/ (live1959)).

This haunting song is sung with minimal piano accompaniment.  In between verses, the original version has some stark trumpet solos, although they are not present in this live version.

Southern trees bear a strange fruit
Blood on the leaves and blood at the root
Black bodies swingin’ in the Southern breeze
Strange fruit hangin’ from the poplar trees
Pastoral scene of the gallant South
The bulgin’ eyes and the twisted mouth
Scent of magnolias sweet and fresh
Then the sudden smell of burnin’ flesh
Here is a fruit for the crows to pluck
For the rain to gather
For the wind to suck
For the sun to rot
For the tree to drop
Here is a strange and bitter crop

She sings the words slowly (the song is 3 minutes long despite the relatively few words), letting the image linger in your mind as she stretched out “burning flesh”  and “for the crows to pluck.”  The way she agonizingly sings “drop” and “crop” really emphasizes the last lines.

The studio version has a haunting guitar line–the only guitar in the song–as a little coda.  It’s a remarkable addition and really affecting.

I can’t imagine the courage it took to sing these words in 1959 let alone 1939.

This song has a fascinating origin.

Thomas Shipp and Abram Smith were two Black men who were hanged in a spectacle lynching in 1930.  A photograph was taken by studio photographer Lawrence Beitler.  He sold thousands of copies of the print [which is amazingly disturbing and I can’t imagine who would have bought them].  In 1937 Abel Meeropol, a Jewish school teacher from New York City saw a copy of Beitler’s 1930 photograph which “haunted [him] for days” and inspired his poem “Bitter Fruit” which was published in The New York Teacher in 1937 (under the pseudonym Lewis Allan). Meeropol then set his poem to music, renaming it “Strange Fruit” which Billie Holiday recorded in 1939.

[READ: March 8, 2021] Kindred [the fight]

This week took us to the end of the book.

Dana arrived home with Kevin this time.  He’s initially happy to be home, but is soon very restless. He was in the past for five years.  They have only been in their new house together a few days–noting is familiar here.  He is agitated and irritable.  He tells her about some of the horrible things he’s seen like a woman dying in childbirth.  It’s interesting that this horror comes from Kevin telling Dana about a woman’s whose master beat her until the baby fell out of her.

I feel like Kevin is overreacting to his return–his agitation seems way too great.  I realize that things are new in this house, but you’d think that even after five years, being home wouldn’t be such a bad thing.  And then he tells a story like the above and while I still don’t understand why it’s not just a relief to be out of there, i can see that he’s got PTSD.

But he was jumpy–the sound of jet overhead freaked him out.  Again, would five years without a jet overhead make you forget that they existed before hand?

Earlier Dana had been concerned that Kevin could be “won over” to the bad side. But he tells her that he had been helping slaves to escape.  he even imagined that they might both want to go back to help more slaves escape–to do good historically speaking. (more…)

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SOUNDTRACK: NINA SIMONE-“Mississippi Goddamn” (Live in Antibes, July 24-25, 1965).

This song is amazing for so many reasons.

Nina Simone wrote this song in less than an hour as a response to  the murders of Emmett Till and Medgar Evers in Mississippi, and the 16th Street Baptist Church bombing in Birmingham, Alabama (see the posts from John Lewis’ March).

It is simple and straightforward.  She pulls no punches, from the title to the explicitness of the lyrics.

The intro (and chorus) get right to the point

Alabama’s gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi, goddamn

She doesn’t stop there.

Don’t tell me, I’ll tell you
Me and my people just about due
I’ve been there so I know
They keep on saying
“Go slow!”

But that’s just the trouble “too slow”
Washing the windows “Too slow”
Picking the cotton “Too slow”
You’re just plain rotten “Too slow”
You’re too damn lazy “Too slow”
The thinking’s crazy “Too slow”
Where am I going What am I doing I don’t know

Having the band chant back “too slow” during the bridge is a nice call for support.

What’s most scary about this song is how little has changed since she wrote it fifty years ago,

Picket lines, school boycotts
They try to say it’s a communist plot [substitute Antifa or BLM now]
All I want is equality
For my sister, my brother, my people, and me

In the Antibes version, she substitutes Governor Wallace in one of the lines–and you can tell how intensely she feels these words.

Then there’s the music–a sort of bouncy jazzy number that could easily be about anything.  The lyrics are straightforward, but the music almost softens the bite, or at least.  In the Carnegie Hall recording she even jokes “This is a show tune, but the show hasn’t been written for it, yet.”

The middle section, which is a little quieter, definitely sounds a bit more sinister.  And justifiably

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day’s gonna be my last

Watching this video is really intense.  I wonder how impactful this was in France. And I can’t imagine what the impact was like at Carnegie Hall.

[READ: March 8, 2021] Kindred [the fight]

This week’s read is one long, painful chapter.

After the first few sections have established the scenario, the more you think about it, the more you realize how many things can (and likely will) go wrong for Dana.

Each time Dana is sent back in time, the gap between instances grows.  Time doesn’t pass in the present the same way it does when she goes back.  She had been gone for nearly two months but when she returned home she had been “gone” for less than a day.

Now that Kevin has remained, she fears for him as well and those fears are completely reasonable–he was treated well in that world because he was white.  He looked forward to watching the expansion of our country West.  Could he become a hardened white person if he was there for too long?  Kevin seems like a pretty decent fellow and doesn’t seem like he would become an owner of anyone, but you could see him getting caught up in everything that’s happening. (more…)

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SOUNDTRACKMARTHA REDBONE-GlobalFEST Tiny Desk (Home) Concert #135/154 (January 13, 2021).

Martha RedboneGlobalFEST 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 fourth artist of the third night is Afro-indigenous appalachian performer Martha Redbone.

Martha Redbone performs her Tiny Desk Meets globalFEST performance from her home studio in Brooklyn’s Navy Yards. Native and African-American singer-songwriter Martha Redbone is known for her mix of folk, blues and gospel from her childhood in Harlan County, Ky., which she infuses with the eclectic grit of pre-gentrified Brooklyn. Inheriting the powerful vocal range of her gospel-singing African-American father and the resilient spirit of her mother’s Cherokee, Shawnee and Choctaw culture, Redbone broadens the boundaries of American Roots music.

“The Garden of Love” starts with Martha playing percussion sounds.  Keyboardist Aaron Whitby is playing some backing chords while guitarist marvin Sewell is playing some interesting slide guitar sounds.   Martha sings in a very traditional style.  Then the song starts proper with an old sounding blues riff and the song feels old and gospel-like.

She tells us her inspiration is the Appalachian mountains where she grew up–rattles, soul music, the blues.

“Talk About It” is a prayer for stronger communication around the world.  It’s a more conventional sounding soul song, with heavy keyboards and Redbone’s vocals taking the fore.

“Underdog” is a very pretty ballad with slide guitar sounds and gentle keys.  But it’s all about her gorgeous voice.

[READ: March 1, 2021] Kindred [prelude-the fall]

I’m always happy to start a new group read with the fine folks at Infinite Zombies. Normally we read big books by white men.  So this time it was decided to pick a different kind of author.

I was pretty pleased to see that Octavia E. Butler would be the new reading choice.  I had only recently heard of her and had recently read Mind of My Mind, which I really liked.  So it was a great opportunity to read more from her.

Kindred is Butler’s most famous book.  I was looking forward to reading something different from Mind (although I do intend to read the rest of that series).

I didn’t know what this book was about.  The cover of this book gives absolutely no indication is what’s going inside.  In fact, it looked pretty much exactly like what is not happening in this book.

I was blown away by the first sections of this book.  Butler’s style is not fancy and I found this direct writing to be really effective at conveying what is going on.

Butler basically puts a horrifying slave narrative into a science fiction story.

It starts very abruptly with the prologue.  The narrator, Dana says that she lost her arm on her last trip home.  The police question her husband Kevin but she assures them it is not his fault.

Then the story resumes with The River.  It flashes back to when this all started–June 9, 1976.

In The River, Dana and Kevin are unpacking books in their new California home when suddenly Dana feels dizzy.  She is pulled through space into a river where a young red-haired boy is drowning.  Dana thinks quickly and stomps into the river to rescue the him.  She even does some mouth to mouth

The boy’s mother starts blaming Dana for what’s happening even while she is trying to resuscitate the woman’s son.  Dana succeeds and just as the boy, whose name is Rufus comes to, his father holds a shotgun at Dana’s head.  What is the black woman (who is dressed like a man) doing with her mouth on his son?

Rufus’s father is Southern and they seem very, very old-fashioned.  But just as Dana fear the worst from the shotgun, she flies back to her bedroom.  She is covered in mud and soaking wet, but Kevin says she was gone maybe ten seconds.  He has a hard time believing her (who wouldn’t) despite the proof of the mud on her clothes.

What in the hell just happened? (more…)

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SOUNDTRACKRHEOSTATICS-3rd Annual Green Sprouts Music Week Show 6–all ages (Ultrasound Showbar, Toronto Ontario September 23 1995).

It has been a while since I’ve listened to a live Rheostatics show.  Darrin at Rheostatics Live has added a number of new shows in the last eight months.  On the last night of Green Sprouts Music Week, the band played two shows in one day. This first one is all ages, which I kind of think of as a children’s show, but really it means that people under 21 (or whatever the drinking age is) can get in too.

Sixth show of the annual Green Sprouts Music Week held at Ultrasound Showbar September 18-23 1995. This is the all ages afternoon show. Very solid fun show. Of note is Aliens sung by Julia Pietrus and her stuffed chicken followed by Joe Jackson’s I’m The Man sung by Don – actually this to me could be considered the genesis of his band Communism. A couple of nice acoustic in the crowd numbers as well. Near the end the band mentions they were commissioned to perform the GO7 but hadn’t as of yet written a single note for it which is pretty crazy seeing as it would be performed just a month later.

Dave says that at this show they have people aged 6-60.  A nice sober crowd–a daunting thing.  Martin says “after we play tonight they’re going to tear this place down.”  Tim: No.

Martin’s wearing sailor blue for the nautical song “Saskatchewan.”  It’s great to hear this.  There’s a line in the song about knowing the truth and when the song is over, Dave asks, “what is the truth?”  A prescient and profound young person says “I’m the truth.”

Tim tells everyone that this is his first week with picks taped to his stand.  Do you put them back or drop them? Dave says you fling them.  Tim does and is mocked–you throw like girl.  Tim: which isn’t a bad thing.

Then comes three solid versions of “All the Same Eyes.” “Four Little Songs and “Introducing Happiness.”

Dave then calls Julia Pietrus and her stuffed chicken Dale to the stage.  Dale has been to all of the shows.  Julia is going to sing “Aliens” in Polish.  Her mom made her translate it and she’s here tonight to sing it.  She’s also in a band called Ow, That’s My Head.

It’s amazing to hear her translate this song and hear how it works and doesn’t work at the same time.  But it’s really cool.  They they give her a Rheostatics single from 1980.

Then comes some “Old New Wave” as Don Kerr sings “I’m the Man” (it seems like he used to sing this with his old band).  It’s really fun.

That song was written by someone we’ll tell you who it was in the next song.  They play “Fan Letter to Michael Jackson” but shout JOE!  JACKSON! (no relation).  Dave starts shouting “One Step Beyond” and then sings the Tuesday night in the discotheque. I can’t dance what the heck, I’m an Uzbeck.

Dave: You kids okay out there?  I didn’t know it was gonna get so dark and loud and weird but I think you’re loving it.

People start whistling “You are Very Star” which is pretty cool.

Up next is the “Digital Beach / Earth segue and then they announce they’ll do a few acoustic songs in the audience.

They are in the crowd for a spirited run through of “Take Me in Your Hand” and “Peas & Rice.”

Dave says that they have been commissioned to write 40 minutes of music for the Group of 7 at the National Gallery next month.  But we haven’t written a minute of it, yet.

Martin asks him to tell the Neil Young story.  Dave says he went to see Neil Young at the Garden during the Ragged Glory days.  It really wasn’t very good.  They all had Marshall stacks and were trying to be the loudest band in rock.  These two folks behind me shouted “acoooooooustic” through the entire show–he never brought the acoustic out.
Martin: the loudest sound I have ever seen was at the first stadium concert I went to about three years ago for Rush.  It wasn’t Rush though, it was this guy behind me who was whistling so loud I couldn’t believe it.
Tim: Whistle like this?  [puts fingers in his mouth and can’t do it].
Dave: have you done that and tried to say “puck?”  Don: The title of the next BNL album is going to be Born on a Pirate Ship.  They all crack up.

Martin: We unplugged and we plugged it back in.  Replugged?

After a great “Sweet Rich Beautiful Mine,” Dave plugs the Green Sprouts Music Club–people who have written to us and we’ve written back.  We’ve met many bands.  Like The Inbreds, Farm Fresh and Local Rabbits (in the audience now, playing tonight at the Horseshoe).

They play a lovely version of Tim’s “All in a Row.”

Don: Are there any more Dave Bidini dolls?  Sold out!
Dave: When you pull the string, what does it say?
Can I let you off the corner?
I can’t break this 50.
I found a great thrift store.
Can you pick up my dry cleaning for me?

Martin brought art to sell but left them in the back–I declare them for sale.  A page from the lyrics from Saskatchewan and the other is a story book.  We were going to do Melville part 2 with corresponding songs.

We’ll do one more song and they’ll be available.  They end with a great “Fat.”  How fun to be done with a concert by 7:30.  But it was totally worth it to go at night as well because it’s a very different set.

[READ: February 5, 2021] Cleopatra in Space Book Six

Book five was dramatic and pretty intense.  Where do you go from there?

You start on Cada’Duun, the home of the Golden Lion, where a battle with the Xerx has left yet another one of their forces dead.  But our heroes are okay and Brian has made Cleo a new crown.

Her old one was an heirloom but it was destroyed.  Cleo us touched. They even got the ibis just right (they thought it was a snake). She asks if it does anything–Brian made it after all. Brian is annoyed to be figured out but he is pretty pleased to show of that the lower left side makes her invisible.

They are en route to Thonis, a remote, previously unpopulated planet where they have terraformed a small section to make it habitable.  They been bringing refugees from around the Nile galaxy.  Luckily, the right side of the crown is a universal translator (thanks Brian). (more…)

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SOUNDTRACK: INDIGO SPARKE-Tiny Desk Concert #951 (February 26, 2020).

I was sure that I had heard of Indigo Sparke before–in some kind of NPR context.  But I can’t find any evidence of that.

The only thing I can figure is that I must have listened to this Tiny Desk Concert when it was first published, because I remembered her telling the story about driving a car (before the second song).

Indigo Sparke is an Australian singer-songwriter.  She sings quietly and plays an electric guitar almost without amplification (aside from occasionally loud drone sounds).  Bob says,

I asked everyone to gather a little closer than usual around my desk for this one.

“Colourblind” starts the set off as she quietly strums and sings.

Up next is “the day i drove the car around the block.”  She introduces the song by telling about

trying to learn how to drive on the other side of the road while in Los Angeles, with a huge vehicle and a stick shift.

After that introduction, you might think the song was amusing.  But it is not

It is a tale of defeat and solace:

“Take off all my clothes, kiss me where the bruises are,” …
“Love is the drug, and you are in my blood now.”

Sparke sings a little too slowly for my liking–the kind of stretched out vocals that make it hard for me to follow the thread of the song (or maybe that you need a few listens to fully appreciate).

Before the final song, she invites her partner, Adrianne Lenker of Big Thief up to play guitar with her.  She tells us that the song is so new it has no title–if you think of one while she’s playing it, let Bob know.  It has since been named “Burn.”

Lenker’s addition of chords (and lovely harmonics) add a nice extra layer to the song.

[READ: March 21, 2020] Paradox Girl: First Cycle

Who doesn’t love a story that begins: “Do you know what happens when you violate causality?”

Paradox Girl is a time-traveler who has changed her past so many times she doesn’t know what he truth is.  She also lives with about a hundred copies of herself.

Her partner in crime-fighting is Axiom Man.

This book had so much that I love in a superhero story–strong female characters, wild humor and all kinds of time-travel paradoxes.  It even had fantastic artwork from Yishan Li–I love the light purple lines that indicate some time travel magic.

But I guess I learned that this is something of a one-note premise.  Which means that most of the stories are variants on the one idea that she can appear anywhere at anytime and that her other selves will be there as well.

Often this works pretty well, but I guess reading six comics in a row gets a bit samey. (more…)

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SOUNDTRACK: MOUNTAIN MAN-“You and I” (from WILCOvered, UNCUT Magazine November 2019).

The November 2019 issue of UNCUT magazine had a cover story about Wilco.  It included a 17 track CD of bands covering Wilco (called WILcovered or WILCOvered).  I really enjoyed this collection and knew most of the artists on it already, so I’m going through the songs one at a time.

Mountain Man is a trio of three women with beautiful voices.  They often sing a capella or with one guitar accompaniment.  There music is quiet, designed for you to lean in to hear better.

The original song is a gentle folk song (with some gently rocking moments).  Mountain Man make it even more gentle.  The original has a vocal harmony from Feist.  Having a two harmony voices makes this version even more special.

Alexandra Sauser-Moning plays guitar (and maybe sings lead?) while Amelia Meath and Molly Sarle sing gorgeous harmonies.

As with everything Mountain Man does, it’s delicate and lovely.

[READ: February 11, 2020] The Time Museum: Vol. 2

Volume 2 opens up with very little explanation about what happened before.  In fact, it jumps right in the middle of a chase.  A purple creature with four tentacles is running away from Delia in an amusement park.  The purple creature is a kid and he doesn’t know why he’s being chased.  Delia communicates through her wrist watch that the kid has the Icono de Prestigo.

The rest of the beginning of the book has Delia’s Epoch Team chasing this (very fast) kid as he flees with the Icono.  The kid finally settles in the middle of an exhibit for Monstro the Terrible.  They freak out and don’t want to see the kid hurt, but he says his dad works there and the exhibit has been empty for years.  Which proves to be false as immediately Monstro (who looks a lot like the monsters in Stranger Things) awakens and swallows the kid.

Through some brave and disgusting techniques the kid and the icono are rescued.

After all of that, the kid hands over the icono and says its probably all melted anyway.  What?  Then they see him walk by with another one–the icono is actually a container for an ice cream sundae.  The Team was hundreds of years too late to save the actual relic.  When they return they are given a reprimand. (more…)

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SOUNDTRACK: J.S. ONDARA-Tiny Desk Concert #937 (January 24, 2020).

WXPN has been playing J.S. Ondara quite a lot since his album came out.  And while the DJs would often give some details about his life story, he gives a bit more here.

J.S. Ondara’s journey to the Tiny Desk is a fascinating one. From his home in Nairobi, he listened on his sister’s radio to American artists, including Nirvana, Jeff Buckley, Death Cab For Cutie and, most importantly, Bob Dylan. He wanted to be a folk singer, so he moved to Minnesota, Dylan’s home state.

In between songs he narrates his life in a wonderfully comically understated style.

Ondara told us his story. “I remember, at one point, someone told me about this contest that you guys do called ‘the Tiny Desk Contest.’ And I was, at the time, desperately trying to be a folk singer. And I’m not quite. I’m not a big fan of contests, but I like NPR. So I figured I’d give it a shot. And I’d just written that song, ‘Lebanon.’ So I made a video of me playing that song, and I submitted it. And I suppose that things didn’t go quite in my favor. So I figured I’d find a bit of a roundabout way to get here, which involved making a record and touring it relentlessly and stalking Bob [Boilen] all around South by Southwest. (I actually didn’t do that part.) I was thinking about it. And now I’m here. The journey would have been a lot shorter had I just won the bloody contest. It’s on me, not you, I suppose, I should have written a better song.  But in the very wise words of Miley Cyrus, ‘it’s not about how fast you get there, it’s about the climb.’  I can’t stop quoting that song, it’s one of those words even when I don’t want to.”

“Lebanon” is a slow ballad with Ondara’s unique singing style (S. and I genuinely didn’t know if Ondara was a man or a woman upon hearing his song “Saying Goodbye” because his voice is so multivaried.  I really like the passion of the lyrics and how it is countered with the slowness of the music.

In the water, fire
I’ll go wherever you go
In the valley, in the canyon
I’ll go wherever you go
Hey, love, I’m ready now
Can’t you see this riot
Inside of my veins
Hey love, I’m overcome
By desire
How must I wait?
Up next is “Days of Insanity” with this fascinating lyric

There is a bear at the airport, waiting on a plane
There is a cow at the funeral, bidding farewell
There is a goat at the terminal, boarding the C-train
There is a horse at the hospital, dancing with the hare
Somebody call the doctor, from the university
Somebody call upon the witch and the wizardry
Somebody call the rabbi, the pastor and the sheikh
Coz we are coming on the days of insanity
The days of insanity.

In talking about this song he says it is such a rich time to be a folk singer in America.  He wrote the song while making the record.  He was watching videos of kittens and puppies as he does every night before bed and the video suggested watching Stephen Colbert with John Mulaney.  Mulaney took a trip to Japan and described things in America as being like seeing a horse loose in a hospital.  It’s like something no one’s ever seen before.  Ondara encourages us to watch the clip and he is right–it is hilarious!

“Saying Goodbye” is the song that’s been getting the airplay.  It’s passionate and powerful and when he sings in the higher register it really is otherworldly.

This live version is quite a revelation.  His delivery is different–much more slow and deliberate.  But he can still hit that glorious high notes..

Amazingly, Tales of America was nominated for a Grammy award for Best Americana Album (not bad for a guy from Kenya).  Sadly it didn’t win.

[READ: January 30, 2020] Cleopatra in Space Book Five

It took Maihack seventeen months to make this book!  He says that sixteen of those months were spent growing the beard on his author picture.

This story is action-packed with some fascinating twists and turns.  Consequently, seventeen months is a long time to go between books.  Fortunately, Maihack’s quality of illustration and storytelling has maintained its high standards.

The book opens with a flashback to the moment when Cleo first disappeared from Gozi while they were having target practice (back in book 1).

The actual story has followed Cleo on her adventures.  But now we see what happened to Gozi.  He was attacked by … someone … and imprisoned.  Gozi believes that whatever happened to Cleo–it was her choice not to return and help him.

I have to admit I was more than a little confused as to just what happened next, [Gozi explains things later on].  In the montage of events, there’s a spaceship and lots of cats (I suspect that if I had read the other books more recently this would be more clear).  In whatever happened, Gozi is badly burned and the pain never goes away.  He was wrapped in bandages but that didn’t really help at all.  Then we see exactly what happened to make Gozi turn into Octavian and to agree to use the Lion’s plasma to carry out the ruin of the galaxy. (more…)

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SOUNDTRACK: TOOL-“Some Days It’s Dark” (2007).

I recently learned that Tool performed this cover of a song from The Kids in the Hall: Brain Candy live.

In the movie Bruce McCullough’s character Grivo’s band Death Lurks plays this very heavy song (written by Craig Northey and performed by Odds).  Lyrically it’s amusingly Dark

Some days it’s dark
Some days I work
I work alone
I walk aloooooooone.

Tool is considered to be one of the most intense metal bands out there with fans taking them very Seriously.  So the fact that they covered this song (in Toronto) is fantastic.

The cover is great (of course).  They get the sound of the original right on, especially when the big heavy part kicks in.  The only problem I would say is Maynard’s delivery.  It’s a little too deadpan,  I’d like it to be a but more over the top.  But maybe that wouldn’t be Maynard’s way.

You can hear it (no video) here.

There’s no word on if they also played “Happiness Pie.”

[READ: January 27, 2020] Extra Credit

When a beloved (and award winning) series nears its end, it is time to put out early and special features collections.  Usually they come once the series has ended, but this one has come early.  Whereas Early Registration was a good collection of early material, this collection is a bit more haphazard.

It collects some Christmas specials and some early “comic strips” from Allison.  Given this seeming completest nature of this collection, I can’t imagine that there’s another volume planned.

The first story is called “What Would Have Happened if Esther, Daisy and Susan Hadn’t Become Friends (and it was Christmas).”  It’s the 2016 Holiday issue drawn by Lissa Treiman.

We zoom in on DAY-ZEE on “the edge of the boundless sweep of space” as she zooms in one the title question.  [It’s important to read Early Registration first as this story references that story].

Esther didn’t help Daisy move in on that first day.  Esther was immediately grabbed by the popular girls.  They are sitting under a tree playing music on their phones which wakes up Susan who curses them out. (more…)

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SOUNDTRACK: FIONA APPLE-“The Whole of the Moon” (2019).

I’m rather a fan of a good cover song.  I don’t really like when bands play covers live–I’m here for your music not someone else’s–but a studio recording is usually welcome.

It’s especially helpful if it’s an artist I like doing a song I like.  Such as with this one.

I learned about The Waterboys back in college.  I hung out with Irish musicians and they introduced me to Irish bands.  Although we were more Fisherman’s Blues than This is the Sea, I still really enjoyed “The Whole of the Moon.”

Lyrically the song is simple but very clever.  It works through many comparisons about how “I” see things less completely than “you” do.

I was grounded
While you filled the skies
I was dumbfounded by truth
You cut through lies
I saw the rain dirty valley
You saw Brigadoon
I saw the crescent
You saw the whole of the moon

I also always like the part where the line “you came like a comet” is followed by an explosion–satisfyingly over the top.

The occasion of Fiona Apple covering it has to do with the show The Affair which I’d never heard of.  Evidently the season finale opens with The Waterboys’ version and ends with this new Fiona Apple version.  Fiona Apple’s song “Container” is used in the opening credits, so she already has ties to the show.

I can remember “discovering” Fiona Apple through an issue of New Music Monthly about two months before her debut came out.  I really liked “Shadowboxer” and then the whole album.  It was quite a surprise to me when she became a huge star soon thereafter.  And by the time she toured where I lived, the crowd was full of screaming girls.

Nevertheless, I have stuck with her because her music is always terrific.

Her voice has always been kind of raspy and deep–with a quirky range.  But she really pushes herself on this version.  She sounds worn out and it really works for these lyrics.

It stars with gentle synths and a drum pattern.  After the first verse, a full band comes in, with a trippy slide guitar (rather than the 80’s synths of the original).  But it stays pretty simple–this song is about the lyrics.  The middle instrumental section is similarly horn-based, but with a bit of piano and more slide guitar tossed in.

As the song goes on, Apple’s voice gets more and more intense.  The way she sings: “I sighed / but you swooned” will give you chills.

The Waterboys version has a cute musical ending which Apple removes. She also refrains from the comet explosion.

It’s stripped down and really fantastic.

[READ: September 23, 2019] Herbert’s Wormhole Book 3

I accidentally read Book 3 before Book 2.  I am embarrassed that that happened because I am a librarian and I should know better, but I double checked to see which came out first, but I must have read a paperback reprint with a later publishing date and though that book 3 was in fact book 2.

So I read book three and on many occasions I thought “How daring and surprising and hilarious that the Peter Nelson is referencing things that we did not see.”  I assumed that between book 1 and this one, the kids had had many adventures that we didn’t know anything about.  They would just casually refer to them.  This does happen in TV shows all the time, but I guess not in children’s books.  So I should have known better, but I was excited about the prospect of this rather author twist.  I do admit by the end that there were a number of things where I thought…hmmm…. this is referencing something that I think I should know about.  But I was far enough along at that point not to stop.

Turns out, at the end of Book 2 (I found out later), we see that GOR-DON’s plan for destroying the AlienSlayers is not his own.  It is actually  the plan of an evil mastermind.  An evil mastermind who we learn is called Aerostar.

But the real crisis is in the Filby household.  Because Alex’s dad is going to knock down the jungle gym (that they put up for Alex just last year) to make room for a huge playhouse for his bratty little sister, Ellie (“some serious assembly required”).  This will effectively destroy the wormhole!  What will they do now? (more…)

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SOUNDTRACK: DEODATO-Prelude (1973).

I know this artist because of Phish.  For years I thought that they “wrote” the discoey, funky. super cool version of “Also Sprach Zarathustra” which they play at a lot of shows.

I should have realized that the “Deodato” in the credits was the actual arranger of this cool piece, but I guess I never really thought about it.  I’ve no idea where the realization came to me, but once it did I decided  to check out the album from which it comes.

It turns out that Deodato is Eumir Deodato de Almeida (Brazilian Portuguese: [ẽʊ̃ˈmiχ djoˈdatu]; born June 22, 1942) is a Brazilian pianist, composer, arranger, and record producer, primarily in jazz but who has been known for his eclectic melding of genres, such as pop, rock, disco, rhythm and blues, classical, Latin and bossa nova.  Prelude was his first album released in the U.S. (released when he was 31) and eighth overall.  In addition to making over 30 albums, he has also been a producer and arranger on everything from Kool and the Gang’s “Celebration” to Bjork’s albums PostTelegram, and Homogenic

“Also Sprach Zarathustra” begins with twinkling and guitar noises for 30 seconds before the 5-note funky keyboard comes in.  And then about a minute in the horns join to create the familiar Richard Strauss “Also Sprach Zarathustra” crescendo.  Even though that melody is barely a minute long, this version is 9 minutes long with a lengthy funky keyboard solo occasionally punctuated by horns.  It then switches to a more rocking sound with a 70s sounding guitar solo.  It really never loses the funk for the entirety of the piece.

“Spirit Of Summer” is a slow moody song that sounds like it could be the soundtrack to a noir film with slinky horn lines and jazzy bass.  I love the opening and how it then switches to an almost easy listening string section before adding a mellow keyboard solo and a surprising very fast flamenco guitar solo as well.   The song is only four minutes and ends with a flute solo and then a return to the opening horns.

“Carly & Carole” is an easy, mildly funky jazzy number.  There’s lead flute combined with the keys that push the song along.

“Baubles, Bangles, & Beads” is a jaunty five-minute romp that sounds like it would have been very popular at swinging parties in the 1970s.  There’s more flute and keys and two lengthy wild Santana-like guitar solos that run through to the end of the song.

“Prelude To The Afternoon Of A Faun” opens with a mournful flute that sounds a lot like the weird Snoopy interludes when he is the World War I Flying Ace in the old Peanuts cartoons.  The melody is quite nice and is then repeated by several instruments throughout the piece.   After 2 minutes it tuns into a swinging jazzy number with a flute solo and wah wah guitars and a bright trumpet solo.  I see now that this piece was done by Debussy and this is another arrangement.  It is not used in Peanuts although Schulz does reference the song in a strip.

“September 13” ends the disc with an upbeat funky song with groovy bass and keys and wah wah guitars.  There’s a wild mildly distorted guitar solo with fun effects put on it.  It’s a fun way to end an album that is short but really captures a moment in time.

[READ: September 3, 2019] Herbert’s Wormhole Book 2

I accidentally read Book 3 before Book 2.  I am embarrassed that that happened because I am a librarian and I should know better, but I checked on Goodreads and must have read a paperback reprint pub date and though that book 3 was in fact book 2.

Having read book three I basically knew a lot of what happened in book 2.  But primarily this is because in book 3 they make offhanded comments to things they did in book 2.  Incidentally, while I was reading book 3 I thought it was a really fun, bold move on the author’s part to reference adventurers that we hadn’t read about.  That should have dawned on me but I just persisted in believing that the author was being really daring. Oh well.

Knowing what happened didn’t really spoil anything, because the book is silly and funny anyhow.

This book opens with a paneled cartoon recap of book 1.

It’s followed by a hilarious opening sequence in which Alex’s dad has become hooked on video games.  He was trying to bond with Alex over Alex’s love of video games.  But in book 1, Alex’s memory of video games is wiped out.  So now his father is playing them and Alex doesn’t really see the point.  But Alex’s father is now as addicted as Alex was. (more…)

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